The Art Digest, Ist March, 1935

SOME COMMENT ON THE NEWS OF ART

Trying to Settle It

It is great fun to be the editor of an art magazine such as this one, and be able to print both sides of any controversial subject without bias, It used to be thrill- ing to match the Conservative against the Modernist, like the proverbial Kil- kenny cats, and watch the fur fly with- out saying “Scat!” to either.. That sport has become tame now, for you can hardly tell one from the other, either in talk or technique. Of course, there has come along Surrealism, which has generated a few showers of sparks. But just now there has come to a climax the duel be- tween the new Nationalism and the old Internationalism, and it comprehends strange alignments. For instance, the wildcat Tom Craven for Nationalism and that other wildcat, Stuart Davis, for In- ternationalism. And out in Chicago, with a roar heard on both sides of the Con- tinent, the leonine C. J. Bulliet against the French School and equally against the thing which—just now—is the ex- pression of “‘the American scene.”

All such things have to be fought out, and it is the pleasure of The Art Digest to provide an arena. Not the views of a few brilliant individuals, but the in- tellectual and aesthetic consensus of a whole society goes into the making of those movements and periods which con-

Announcing a Service to Art

By PEYTON BOSWELL

stitute art history, and this magazine is proud of its function in the matter.

The editor hopes he has stuck to all the rules of fairness in refereeing the fol- lowing bout between Thomas Craven and Stuart Davis:

In an article entitled “‘If This Be Na- tionalism . . .”’ in the New York “‘Ameri- can” Mr. Craven refers to Ford Madox Ford's recent assertion that “the nation- alistic- trend among the nations today is a menace to art in all its manifestations,” and says:

“| have heard this plaintive sales talk before; I have heard it repeated with charming condescension by visiting French painters. who came to America to pro- mote their watered stock; I have read the whining affectations of liberality with which bankrupt expatriates preface their attacks on American provincialism; and I have listened to the infantile mumblings of Gertrude Stein whose sole contribu- tion to criticism is the old familiar prov- erb that ‘art is art—a flat thing on a flat surface’-—emotionally and _ spatially flat, a sterile, rootless weed nurtured in the backyards of Bohemia.”

After a few remarks devoted to Ger- trude Stein, such as calling her . the “champion performer in the field of linguistic drivel," Mr. Craven informs Mr. Ford that American writers have emanci- pated themselves from slavish imitation

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of English letters. ‘There is not a writer in this country who fears his British competitors,” he says; “one and all are dealing with American life in an Ameri- can style.” Then he takes up the situa- tion of American art:

“‘No such condition exists today in the fine arts. When it comes to the art of painting, America, of all modern nations, has been the most generous, the most hospitable and at the same time the most subservient to outside influences.

“For the last seventy-five years, we have accepted with blind, unquestioning reverence, with childlike faith and simple- minded humility the various schools and movements emanating from France. We have sent our students to Paris; we have invested hundreds of millions of dollars in worthless French paintings; and we have starved and insulted American artists who have dared to challenge the tyranny of the French tradition.

“The net result of this foolish, uncriti- cal attitude has been the emasculation of native tendencies and the creation of a veritable army of pitiable French styles.

“French modernism . . . has been tried in a thousand courts and found wanting. We can't use it and we don’t need it. It is time that we stood on our own feet and did something that might con- ceivably be claimed as our own. Luckily,

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The Art Digest, Ist March, 1935

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sentiment is rapidly changing in America, and we have a few painters whose work puts the French modernists to shame. These painters are called provincial by their jealous rivals; and Mr. Ford, no doubt, would call them victims of na- tionalism.

“But it does not matter. They are not thinking in terms of boundaries and patriotic devotion; they are only express-

ing their experiences in the American‘

background. If this is nationalism, let us make the most of it.”

Enough for Craven. Now for Stuart Davis, abstract painter, who in an article in “The Art Front,’ attacks that cer- tain group of artists who have developed that special thing which is now called “the American scene.” He names Thomas Benton, Reginald Marsh, Charles Burch- field, John Steuart Curry and Grant Wood. “These artists,” he says, “are reported to have in common, first—a passion for local Americana, and second—a_ con- tempt for the foreign artist and his in- fluence. They have the ‘my country right or wrong’ attitude and are suspicious of strangers. New-fangled ideas in art are not for them. . . . They paint bur- lesque shows, Civil War architecture, the wonderful meals that farm help receives under the New Deal, Mother Nature act- ing tough in Kansas, and caricatures of Negroes and farmers. . . .

“Are the gross caricatures of Negroes by Benton to be passed on as ‘direct representation’? The only thing they di- rectly represent is a third-rate vaudeville character cliche with the humor omitted. Had they a little more wit, they would automatically take their place in the body of propaganda which is constantly being utilized to disfranchise the Negro politi- cally, socially and economically.

“By John Steuart Curry we kave a series of rural subjects, cheaply dramatic and executed without the slightest regard for the valuable, practical and technical con- tributions to painting which have been carried on in the last fifty years. How can a man who paints as though no labo- ratory work had ever been done in paint- ing, who wilfully or through ignorance ignores the discoveries of Monet, Seurat, Cézanne and Picasso and proceeds as though painting were a jolly lark for amateurs, to be exhibited in county fairs, how can a man with this mental atti- ture be considered an asset to the de- velopment of American painting? The people of Kansas . . . do not buy his paintings. . . . Apparently the people of Kansas have some discrimination as to what kind of ‘direct representation’ they want. Apparently they resent the insult to their intelligence implied in these works, which always present the obvious and stop. I think it is self-evident that Curry’s pictures are technically and ide- ologically negative. How then are we supposed to benefit from his self-imposed

[Continued on page 21]

THE ART DIGEST is published by The Art Digest, Inc.: Peyton Boswell, President; Joseph Juyber, Secretary; Peyton Boswell, Jr., Treasurer. Semi-monthly, October to May, inclusive; monthly June, July, August and September. Editor, Peyton Boswell; Associate Editor, Peyton Boswell, Jr. ; Assistant Editor, Helen Boswell; Business Manager, Joseph Luyber; Circulation Manager, Alice McCarthy. Entered as second class matter Oct. 15, 1930, at the post office in New York, N. Y., under the act of March 3, 1879. Sub- scription: United States, $3.00 the year; Canada, $4.20; Foreign, $3.40; single copies, 25 cents. Editorial and Advertising Office, 116 East 59th St., New York, N. Y. Telephone: VOlunteer 5-3571. Volume IX, Number 11, Ist March, 1935.

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Volume IX

New York, N. Y., 1st March, 1935

No. 11

ee _e-

eri te) - oN

Mellon to Give Gallery and $19,000,000 of Art to the Nation

“Adoration of the Magi’ by Botticelli (Florentine, 1444-1510). Acquired from the Hermitage Collection by Andrew W. Mellon for $838,350. Botticelli has been called the “super-painter,” ex pressing, at his best, as in this painting, the quintessence of

It took the legal details of the Andrew W. Mellon income tax case to bring out the truth about the often-denied purchases of master- pieces from the Hermitage Collection by the former Secretary of the Treasury.

Ever since the Soviet Government made known its intention of breaking up the famous Hermitage Collection, which at the time of the fall of the Czars was estimated to in- clude 1,700 paintings, rumors have persisted that Mr. Mellon was one of the heaviest buy- ers. From time to time Tue Art DiceEst reported these rumored sales, but always there were denials. Now, Frank J. Hogan, the financier’s counsel in his fight against the gov- ernment’s claim that he owes more than $3,- 000,000 income tax for 1931, makes public the fact that Mr. Mellon purchased five of the greatest Hermitage masterpieces in 1931 at a cost of $3,247,695. The claim for a tax re- duction is based on the fact that Mr. Mellon plans to establish in Washington a national gallery of art to which he will donate paint- ings from his own great collection, among them the Hermitage acquisitions.

For thirty years Mr. Mellon has, been as- sembling quietly, and with a hatred of pub- licity, a collection of sixty or seventy paint- ings, all of outstanding importance—such as

Florentine distinction.

Goya’s “Portrait of Senora Sabasa Garcia,” El Greco’s “St. Ildefonso Writing,” a fine Rembrandt “Self Portrait,” Holbein’s “Prince

Like Old Times Andrew W. Mellon has expended $19,- 000,000 for objects of art, according to his attorney, Frank J. Hogan, which he has turned over to the trustees of the Mellon Educational and Charitable Trust Fund. He plans to build a certain sec- tion of the forthcoming National Gallery of Art in Washington to house these treasures, and neither the structure nor the collection will bear his name. Apparently the old-time collector whose wont it has been to build up American museums, still lives in Mr. Mellon. It may be that his gift to the nation will not bear his name, but in it Mr. Mellon's spirit will live forever.

It is impossible to conceive, observes Mr. Hogan, that a man who has arranged to enrich his country with $19,000,000 worth of art could at the same time plan to defraud it of income taxes. Many in the art world will be inclined to sym- pathize with this view.

Edward,” Goya’s “Portrait of La Marquisa de Pontejos” and Van der Weyden’s “Portrait of a Lady.” When he learned that the Hermit- age Museum in Leningrad, founded by Cath- erine the Great, was to be broken up, Mr. Mellon was quick to appoint the firm of M. Knoedler & Co., his agents to obtain for him the best of the paintings.

“He was advised,” says a statement from the Knoedler Galleries, “of the most important pictures in the collection. The firm sent six of its experts to Russia and, after spending considerable time in going over the pictures and submitting to Mr. Mellon photographs and data, they were successful in securing, among others, five of the greatest treasures.”

These five masterpieces purchased from the Soviet Government are: Raphael’s “Madonna of the House of Alba,” which alone cost $1,- 166,400; Titian’s “The Toilet of Venus,” for which he paid $544,320; Sandro Botticelli’s “Adoration of the Magi,” which cost him $838,350; Perugino’s triptych, “The Crucifixion of St. John, the Magdalen and St. Jerome,” for which he paid $195,615; and “The Annu- ciation” by Jan Van Eyck, the cost of which was $503,010. Also Mr. Mellon acquired from Panshanger House, England, in 1930, Raphael’s “Madonna and Child,” known as the “Cow-

The Art Digest, Ist March, 1935

“The Toilet of Venus” by Titian (Venetian, 1477-1576). Bought by Mr. Mellon from Soviet Russia for $544,320.

per (or Nicolini) Madonna,” at a $800,000.

Emperors, kings, princes, dukes, nobles and priests once owned these pictures, adding a rare meed of associational value to the painted masterpieces. The “Madonna of the House of Alba” was painted by Raphael in Rome in 1510, and hung over an altar in a Naples con- vent until bought by a Viceroy of Spain. In Spain it passed to the Duke of Alba and thence to a London banker who sold it to the Hermitage in 1836. It was one of the easel paintings on which the master was working in his studio at the time he was engaged on his Vatican frescoes in the Stanza della Seg- natura. The “Alba Madonna” was painted on a panel, 3 feet 1 inch in later transferred to canvas.

Botticelli’s “Adoration of the Magi” was painted in Rome in 1481 while the artist was at work on the frescoes in the Sistine Chapel, according to the New York Times. ject of the Adoration of the engaged Botticelli; but this version is con- sidered one of his greatest works. It was bought in France for the Hermitage from the engraver, Peralli.

The “Crucifixion” by Perugino was pre- sented in 1496 to the Church of the Domin- icans in San Germignano, where it hung over the altar until the invasion of Napoleon, when it was sold. Eventually it came into the pos- session of Prince Galitzin who disposed of it to the Hermitage.

Van Eyck, traditionally known as “the in-

cost of

diameter, but was

The sub- Ma gi often

ventor of oil painting,” is supposed to have done “The Annuciation” in 1434, six years before his death. Philip the Third, Duke of Burgundy, gave it to a church in Dijon, whence it was taken to Paris in 1819. Later it was sold to the King of Holland, passing from him to the Hermitage Collection in 1850. Believed to be an idealized portrait of the “The Toilet of Venus” is one of Titian’s most famous works. Painted about 1565, it was found in Titian’s studio after his death. His son, says the Times, sold it to the Barbarigo family, from whose col- lection it was purchased for the Hermitage Emperor Nicholas I. According to the Times, by far the most interesting part of the tax testimony came at the close of Mr. Hogan’s opening address when he revealed Mr. Mellon’s “cherished dream”

artist’s daughter,

Collection by

ART TO HEART TALKS By A. Z. KRUSE There arg artists who are producing a hybrid art, which is neither a good aca- demic job nor creative work in the sane sense, but rather unharnessed, headstrong,

hysterical manifestations upon canvas. Such conduct, when verbally perpetrated, usually lands one in a straightjacket, ac- companied with the proper kind of guard, in an institution duly authorized to house the mentally unbalanced.

“Annunciation,” by Jan Van Eyck (Flemish, 1385-1441). Price, $503,010.

of making the nation’s capital the. art center of the country, if not of the world. It was to that end that the 79-year-old financier estab- lished the A. W. Mellon Educational and Charitable Trust Fund.

For years, Mr. Hogan told the Board of Tax Appeais, Mr. Mellon had planned to establish in Washington “a great temple of art.” Re- gardless of geographical location, Mr. Mellon feels that Washington should be the cultural center of the nation. There he intends to build an annex to the National Gallery which will house not only his own great collection but also collections of other public-spirited Americans who have the means and the desire to join with him in this projéct. It would not even bear the name of its founder.

This section of the National Gallery, the lawyer said, was not to be “for ordinary art objects but for considered and was to be

which are outstanding by connoisseurs,” “accessible to the humblest citizen of this country.” Altogether, Mr. Hogan said. Mr. Mellon had invested $19,000,000 in rare works of art which he planned to make the property of the nation and which he had actually turned over to the trustees of the Mellon Educational and Charitable Trust Fund for that purpose. Ending his statement of Mr. Mellon’s case, Mr. Hogan said: “God doesn’t place in the hearts and minds of men such diverse and opposite traits as these; it is impossible to con- ceive of a man planning such benefactions as these and at the same time plotting and scheming to defraud his government.”

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The Art+ Digest, Ist March, 1935

The Crucifixion by Perugino, Raphael’s Master, Is Mellon Treasure

“The Crucifixion” by Perugino, for which Mr. Mellon paid $195,615 to the Soviet Government. Vannucci, called Perguino (born 1446), was the teacher of Raphael. He had an instinct for large, airy compositions, decorative and seductive; a taste for golden, transparent color; and a sense of reverie and ecstasy. These qualities may be found in the above triptych, one of five masterpieces obtained by Mr. Mellon from the famous Hermitage Collection and which he is now giving to the nation.

Abstract Americans

Crowds have thronged to the large and com- prehensive show of “Abstract Painting in America,” which the Whitney Museum is shel- tering until March 22. With the exception of Henry McBride of the New York Sun, none of the critics were heartily impressed.

“We have had too little faith,” declared Mr. McBride. “The enormous prestige of the abstract painters in France and the ready acceptance everywhere of their work has made us too impatient of the local hesitancies over the local production, and I confess, on my part, that I had just about concluded that the times were not ripe in America to insist upon ‘pure painting.’

“We did too little toward extending the boundaries of their fame, and who knows how much they might have been fortified had we provided them with a worshipful and admiring public. As it was, embarked on treacherous and uncharted seas, they had to rely for guidance upon intuition.” Although in their hours of creative stress they turned to foreign artists for guidance, it is a marvel, explained

Mr. McBride, that they ever reached land at all.

In direct opposition, Royal Cortissoz of the New York Herald Tribune asserted that the exhibition “testifies to nothing so much as to a perfect welter of waste motion.” Despite the fact that Stuart Davis did his best in the catalog to dissipate the fog, “the fog re- mains. It is the fog created by mistaken effort, landing the artist in futility,” contended Mr. Cortissoz. “To quote the _ inexhaustible Whistler again, ‘art is art and mathematics is mathematics.’ To flounder about with pencil or brush, to achieve some sensuous effects of color, some rhythmic linear arrangement, may be legitimate amusement for an idle hour, but to call the result ‘abstraction’ does not give it artistic validity. I come back to that little matter of intelligibility. It may be that we are all wrong about the masters. ‘Titian was content to be intelligible. So was Rembrandt. So was Velasquez. Perhaps they were on the wrong track. Perhaps the abstractionists are on the right one. But the burden of proof rests upon their shoulders and they haven’t yet begun to commence to prepare to prove their case.”

In many cases, according to Margaret Breun- ing of the New York Post, the work of the younger artists represented is excellent; “in other instances, in spite of their proclamation of being ‘organizations,’ they seem to have little significance or indication of cerebral ef- fort. In fact, only too often nowadays one encounters glib superficial work labeled abstract and resembling, perhaps in its hodge-podge of incoherent planes, abstract art more than any- thing else, yet having in reality no logical construction or clarity of expression.”

In *the opinion of Malcolm Vaughan of the New York American, “America has not as yet produced a great abstractionist. What impedes American progress in abstract painting may be the fact that our conception of it derives from the modern school of Paris and is therefore self-conscious, sophisticated and mannered. Perhaps the present exhibi- tion—one of the most pious the Whitney Mu- seum has ever offered us—will indicate to our abstractionists the faults of their derivation; clarify their aims; encourage their efforts and inspire them to purer and more meaningful invention of new forms and new designs.”

The Art Digest, Ist March, 1935

30 Years of Glackens Revealed at Show

“The Soda Fountain,” by William Glackens.

A group of 27 canvases by William Glackens form a retrospective exhibition of this artist’s work at the Kraushaar Galleries, New York, until March 2. It has been some time since Mr. Glackens has held a one-man exhibition, and the present showing contains work dating back to 1905, revealing the many phases the artist has passed through since his early days as an illustrator. Typical of his recent work is “The Soda Fountain,” reproduced above.

Retaining much that still keeps him akin to Renoir, Glackens has in recent years “cut loose,” and is developing a style that is his own, according to Edward Alden Jewell of the New York Times. “For many years,” wrote Mr. Jewell, “Glackens painted so faith- fully in the Renoir manner that one began to despair of his ever achieving anything that could be considered distinctively his own. Then by degrees assimilation softened the delimit- ing effect of this entente too cordial. Glackens slowly emerged, and finally, at any rate in the field of landscape painting, he was seen rather to have bettered the instruction.

“Today Glackens can make a canvas glow and sing with a luster as alluring as it is unique. No doubt the link that connects his art and Renoir’s will never entirely dis- appear. Nor need it, so long as the American artist retains and enlarges his now rich and individual style.”

To Royal Cortissoz of the New York Herald Tribune Glackens’ canvases, old and new, make “an admirable exhibition, admirable for

the sound workmanship in it. . . . Glackens has had his phases. The delightful Washing- ton Square pictures, which I gather are of an early date, have a marked spontaneity about them, an almost sketchy character. Then he seems to have grown keener upon research into form and to have painted with a more deliberate brush. . . . There have been times when Glackens has seemed to lean too heavily upon the example of Renoir. It isn’t so in this instance. He stands upon his own feet and makes an exhilarating effect.”

Guy Péne du Bois in the “American Artists Series” of the Whitney Museum made the com- parison between the likeness of Baudelaire to Poe and of Glackens to Renoir. “Unfortun- ately the spiritual brotherhood which definitely linked the older pair does not even remotely exist with the younger,” wrote du Bois in his book on Glackens. “They have used the same machine, very much as two musicians might, but the resemblance ends here. The sensu- ality of the Frenchman which grew until, in his old age, it approached senility, does not in any similar sense exist in the American. Where in the American the rhythm is ex- traordinarily quick, in the other it is long and slow; where one avidly seeks to interpret reality, to get at the root of it by objective study, the other is content to sit in his gar- den—as he did through all the latter part of his life—trying to make live on canvas his dream of the ideal woman.”

Then discussing Glackens’ unlimited subject

300 Titians

Three hundred: paintings by Titian will be assembled in an exhibition to be held in Venice for six months beginning April 25, in the mag- nificent Pesaro Palace on the Grand Canal. From all parts of the world, writes Francesco Rea in the New York World-Telegram, the Venetian master’s works will be temporarily returned to Venice, the city where nearly all of them were conceived and executed. Titian, stricken by the plague which ravaged Venice in the summer of 1576, died in his 99th year and was buried in the lazaretto, or “Potter’s Field.” Shortly after, the Grand Council of the Republic ordered the body to be found and buried with honors in the Church of the Frari.

Venice officials expect to make this the larg- est and most varied exhibition of paintings, sketches and drawings by one master ever held. These works are scattered throughout the world. The Prado in Madrid has about fifty Titians, thirty are possessed in Venice and the Vatican owns a number. Others are housed in public galleries in Florence, Naples, Padua, Cincin- nati, Boston, Paris, London, Vienna, Leningrad, Berlin, Dresden, Antwerp and Munich. Some are owned by private collectors. Negotiations are now under way to obtain as many loans as possible. The Pope is among the first to promise co-operation.

The exposition, according to the World-Tele- gram, will occupy the two main floors of the Pesaro Palace. The altar pieces, which are all large works, will occupy the central salons, while the smaller paintings will be exhibited in the adjoining apartments. On the opening day a popular pilgrimage will be made to the stately tomb of the master.

Cubist and Abstract

The Leonide Massine collection of French paintings and drawings by Picasso, Matisse, Braque, Derain and other artists prominent in the development of cubist-abstract art at the turn of the 20th century, is being shown at the Marie Harriman Galleries, New York, un- til March 16. Through his association with the Ballet Russe, Massine was in close touch with the trends of modern French art and all the works were acquired by him directly from the artists, between the years of 1916 and 1920. He is now on tour in the West as the ballet master of the Monte Carlo Ballet Russe.

Picasso is better represented than the rest of the artists, having 17 examples, including two pen and ink drawings made on blotting paper and inscribed to Massine. Personal documents of the ballet master’s association with these artists are found in the portraits of Massine by Matisse, Picasso and Derain, as well as a self-portrait of Derain. Other artists represented are Chirico, Severini, Sur- vage, L’Hote and Gris.

matter, du Bois continued: “It includes the entire gamut of things which contribute to the gaiety of the modern scene. He is un- doubtedly a portrayer of life’s most pleasant occupations, of the picnic spirit. Even his occasional unpeopled landscapes have a festive air, a feeling that nature is in celebration: little clouds race through amazingly blue skies, trees stand pert and independent against a ground itself gaily acclaiming the warmth and clarity and splendor of its friend and patron the sun. Few painters have disliked mystery more than Glackens, nor more actively peered into shadows, been more anxious to be rid of their mysteries, to continue form, to pursue it where it turns into hiding places.”

“Young Woman in Green Velvet.” by Abbott

H. Thayer. First Prize in 1920.

It was in 1896 that Carnegie Institute in Pittsburgh opened its first international ex- hibition of paintings, under the -director- ship of John W. Beatty. Many have been the changes that have taken place in the art world since the days of bustles, horse-cars and the rococo sentimentalities of the nine- ties. How great these changes are may be grasped from the resumé of prize winning canvases of 46 years of “Internationals” which Carnegie Institute is holding until March 10, Fourteen of the exhibits in this show (none of them wild or “sensational’’) are owned by the Institute, 16 come from private collectors in Pittsburgh, and

“Mother and Daughter,” by Cecilia Beaux. First Prize, 1899.

The Art Digest, 1st March, 1935 9

And What Homer Saint-Gaudens Doesn’t Say Is Hardly Worth Saying

“The Captain, the Cook and the First Mate,” by Charles W. Hawthorne.

Third Prize in 1925.

40 have been loaned by artists, collectors and museums throughout the country. The best possible description of this notable exhibi- tion may be had from the reminiscences of Homer Saint-Gaudens, who is so ably direct- ing the destinies of the fine arts department of Carnegie Institute during this, the most difficult, period of its history. The following excerpts come from an article by Mr. Saint- Gaudens in the Carnegie Magazine:

Art those days was lured with a dim relig- ious light, in the shadows of the brown-stone stoops that lined Fifth Avenue, or behind the gas jets of the Sherwood Studios, confusing in me memories of the Munich School, Bou- guereau, and mother’s bustles. Maupas- sant’s stories were thought naughty, espe- cially when read in French. Lathrop dreamed of autumn sadness. Washington Square had a dangerous hill running down to the Garibaldi monument. Hovenden’s “Breaking Home Ties” brought tears to grandma’s eyes. For the Metropolitan Museum its director, Di Cesnola, purchased Powers’ “Greek Slave” as the es- sence of beauty. Painters saw, as today, cool gray-blue clouds through studio north lights.

Whistler prepared to say that mauve was “pink trying to be purple.” Kenyon Cox ap- plied to mural decoration the artificial literary forms of Robert Louis Stevenson. The hey- day of the easel painting was at hand. Haughty interior decorators had yet to chill pampered parvenues with pure buty synthetic palaces. A residence. built one day ‘was filled the next like a tooth. The parlor rug was scarcely un- rolled before objets d’art crowded one an- other across its Turkish expanse. Rococo frames rubbed neighbors on the walls where our dreamy Tryon, flanked by the romantic En- glish preciosity of Holman Hunt, added to the socially admired darkness of smug tone and harmony of inept imitation.

Three years previous to the first Pittsburgh exhibition a Wagner sleeping car rolled me up to the gushing rococoness of the World’s Fair fountain. Though Mr. Eastman had produced his “You press the button and we do the rest” affair, the urge of that clicking box had yet to drive art into the Spanish-Frenchisms of Pi-

casso. So at last in Chicago appeared a co- hesion of artistic life that was soon to con- centrate painting on the walls of Carnegie Institute. Walker, Cox and Low distilled the essence of the beaux arts...

Naturally Boldini soon forsook European shores to paint portraits of Uncle Sam’s pack- ing-house potentates. Naturally Chase cropped his whiskers French style and strung a black ribbon through the corner of his eyeglasses as a first step in studio sophistication. Preciosity became one measure of social delicacy. Only later would super-aestheticism be distilled into a poison of psychopathic eccentricities.

Alden Weir veneered an American sympa- thy over a French foundation . . . Embryonic

[Continued on page 25]

“Ea a eS

em iin ‘

“Interior With Figure,” by J. Alden Weir. Third Prize, 1897.

10 The Art Digest, Ist March, 1935

“Winter Landscape,” by Madolin Vautrinot. First Honor and First Award of $150.

A painting priced at only $10, including a $7 frame, won for its creator, Madolin Vautrinot, 21-year-old banker’s daughter from Egg Harbor, New Jersey, the first prize award of $150 at the 25th annual exhibition of the Associated Artists of Pittsburgh, being held at the Carnegie Institute until March 7. Jack Nash, who evidently knows art values after unpacking and hanging Carnegie Institute can- vases for 30 years, uncrated Miss Vautrinot’s painting, “Winter Landscape,” noticed its mod- est price tag and bought it even before the preview. Jeanette Jena of the Pittsburgh Post- Gazette pronounced this picture of backyards and houses. caught in the green and brown reflections of a winter sun “exciting and not derivative at all, although painted in an idiom which has recently become popular with American artists.”

Samuel. Rosenberg, a veteran, won the Car- negie Institute prize of $250 with his group of three canvases—“God’s Chillun,” “Portrait” and “Monday Morning.” The first named is a street corner revival scéne, a canvas crowded with rhythmic figures, “a visual embodiment of hallelujah.” The Association’s second award of $100 went to Carl Walberg for “The Cor- ner,” showing a corner saloon with its doors swinging in all the glory of Pre-Prohibition. The third prize of $50 was won by Caroline McCreary with her velvety “Still Life” of red flowers.

The Pittsburgh Art Society’s $100 prize for the best landscape went to Russell Hyde of the Carnegie Institute’s faculty for “North- easter,” a swirl of gray fog, mist and rain beating against a group of shacks with a single tree standing lenesomely in the foreground.

“Northeaster,” by Russell T. Hyde. Art Society of Pittsburgh Prise for Landscape ($100). Courtesy of Carnegie: Magazine.

Painting Priced at $10 Wins $150 First Prize at Pittsburgh

Virginia Cuthbert, a winner last year, once more scored by taking the $100 prize offered by the Alumnae Association of the Pittsburgh School of Design with her “Self Portrait.”

Dorothy Davids won the Ida Smith Me- morial prize of $100 for figure painting with her “Farm News,” a_ story-telling composi- tion of a farmer in blue overalls, reading a magazine with his wife leaning over his shoul- der. The Sara C. Wilson Memorial prize for flower painting was awarded to Carrie A. Pattison for her “Japanese Iris.” Vernon Wilson, with “Old House Near Ingomar,” won the Camilla Robb Russell Memorial prize for water colors. The sculpture prize of $75 went to Clarence Courtney’s portrait bust of Wil- liam Beach, a massive head.

After a quarter of a century of promotion, the Associated Artists of Pittsburgh has this year achieved the “high water mark of local talent,” according to the Pittsburgh Sun-Tele- graph. From a group of 70 painters who held their initial show in the old Grand Opera House in 1910, the organization has grown into a body of 210 and this year received al- most 1,000 entries. A jury of three out-of- town artists—John Carroll of Detroit, Kenneth Hayes Miller of New York, and Henry Keller of Cleveland—selected from this mass of ma- terial 379 exhibits.

“This show,” writes the critic of the Sun- Telegraph, “marks the decline of the “John Kane School” and the rise of a ‘Kostellow Era’ and a ‘Like Rosenberg Style.’ Both able pigment manipulators, Kostellow and Rosen- berg deserve all the flattery that imitation can give them. Carnegie Tech’s faculty mem- bers, Ellis, Hyde, Hilton, Kostellow, McGil- gary, Readio, Rosenberg, Sollum, Simboli, Schmertz and Topp, form a painting. team that would grace any exhibition in the country.”

The Bulletin Index, Pittsbureh, noted that the artists are this year becoming conscious of the powerful economic forces that are today rapidly molding a new world. Out of the Mid-West, said this writer, “has come a new and potent band of earthy American artists. In the van, Pittsburgh artists are awakening more and more to the fact that they are standing foursquare in the center of the seeth- ing economic forces that are whipping a new world into shape, and that their brushes ap- plied perspicaciously at home micht lead to vivid, vital, verveful things. Last week, many a native artist devoting his time to innocuous landscapes and still life had a lesson brought home by Samuel Rosenbere. that resourceful individualist who naraded Pittsburgh’s liveli- est, lustiest people on svmnathetic canvas and walked off with the highest honors Pittsburgh has to offer.”

Winter?

Although it is called the Winter Exhibition. the fifth showing of Santa Barbara artists just concluded at the Faulkner Memorial Art Gallery found California at its green season, comparable to an Eastern April. Ninety-c: canvases were on displav.

“House of Prayer,” Mary J. Coulter’s pres- enation of a church built in Mt. Washing- ton, Ohio, in 1851, typical of that era, at- tracted marked attention and was considered by the critics an outstanding work in the Santa Barbara exhibition.

Variety in subject matter characterized the show, portraits and landscapes predominatine. The calibre of the work displayed marked Santa Barbara as one of the important regional centers of artistic activity in the -Far West.

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A Good Beginning

Thirty thousand people have visited San Francisco’s new Museum of Art within the first four weeks since its opening in the War Memorial Building. Of chief interest, perhaps, at the inaugural exhibition is the 55th annual show of the Sain Francisco Art Association. The announcement of prize winners revealed that Ray Boynton’s portrait, “Girl Eating Grapes,” reproduced in the Ist February issue of Tue Art Dicest, won the $300 Anna Bremer Memorial prize.

Rinaldo Cuneo won the $300 museum pur- chase prize with “California Hills.” He is among the best-known painters of California landscape. The $200 Bremer prize went to William Hesthal for “A. D. 1885,” a study of two houses almost photographic in accuracy but, according to H. L. Dungan of the Oak- land Tribune, having “a strange fascination.” The medal of award for painting was given to Eugene Ivanoff’s “Portrait of Mrs. L.”

Honorable mention was accorded Worth Ry- der’s tempera painting, “Virginia City.” In sculpture the medal of first award was shared by Sargent Johnson and Beniamino Bufano. Johnson, a negro sculptor, submitted a study of a Negress, her head raised in ecstacy. Bu- fano’s entry was a “Torso” made of hammered copper. Adaline Kent’s “Standing Figure” won honorable mention.

Among the water colors, Bernard Zackheim’s “Pacific Avenue Gospel” won the medal of first award, George Harris’ “Suicide” honor- able mention. Medal of first award in graphic arts was accorded William Clarke’s “Alise;” first award, George Harris’ “Suicide,” honor- able mention. “Codfisher” by Otis Oldfield was voted by visitors the most popular picture.

The Art Digest, 1st March, 1935 11

Rembski, War-Made American, Has Show

“Portrait of Leon Dabo,” by Stanislav Rembski.

Stanislav Rembski, Polish-born in the town of Sochaczew, not far from the birthplace of Chopin, will hold an exhibition of recent por- traits at the Arthur U. Newton Galleries, New York, from March 4 to 16. Like so many European artists, the Great War marked a crucial point in his career. When but a boy, he had achieved considerable success in paint- ing persons of importance in Warsaw and had had his work hung in the Salon, but the World War came to bring havoc to Poland, first un- der Russian, and then German, domination.

BELA

UNTIL MARCH 9

EXHIBITION OF PAINTINGS

Young Rembski saw his home destroyed, and lived through the horrors attendant on an occupation paralleled only by: that endured by Belgium. It was then that his thoughts turned to the West—to the country brought close to all Poles by the heroic deeds of Kosciusko and Pulaski and by the artistic bonds formed by Helena Modjeska, the de Reszke brothers, Mme. Sembrich-Kochanska and Paderewski.

Following a period in Berlin where he found himself well on the proverbial road to “fame and fortune,” Rembski arrived in America in October, 1922, “looking forward eagerly to life in a world where progress and a buoyant courage would replace the bitterness and de- spondency of post-war Europe.” In-1927 he found his goal realized, when he met the Amer- ican girl who is now his wife and received the final papers that made him an American citizen. Rembski has long endeavored to achieve a true understanding of life and culture in his adopted country, filling many notebooks with sketches of people and places, rapidly drawn in subways, at theatres, at fairs—wherever human beings congregate. His success is attested by the long list of leaders in artistic, social, educational and civic fields who have sat for him, many of.whose portraits will be included in his ex- hibition at the Newton Galleries.

Rembski’s exhibition was originally scheduled to open on Feb. 25, but was postponed for a week because the galleries were selected to show “An Art Commentary on Lynching” after an- other gallery had cancelled it because ‘of mysterious threats from unstated sources. This delay enabled Rembski to complete and include in his show a portrait of “The Voice of Ex- perience,” the well-known radio speaker.

” ABA-NOVAK and IVANYI-GRUNWALD

Also Sketches of Al Fresco Paintings, by Aba-Novak, executed for various Churches in Hungary. These were brought here from the International Ecclesiastic Exhibition in Rome, Italy.

E. & A. SILBERMAN GALLERY, Inc.

32 EAST 57th STREET

: NEW YORK

12 The Art Digest, Ist March, 1935

“Weather Beaten,” one of Winslow Homer’s greatest canvases, has been sold by the Mac- beth Galleries, New York, to a collector in the South, as announced in the 15th Febru- ary issue of Tue Art Dicest. This outstand- ing work was painted in 1894 and began its history in 1896 when it won the gold medal of honor at the annual exhibition of the Penn- sylvania Academy. Homer, described as the most powerful representative of open-air paint- ing in America, found the subject for this picture on a point of rock at Prout’s Neck, just after a prolonged easterly gale, when the Atlantic was in its most spectacular mood. As in Homer’s other great pictures, his statements in the painting, “Weather Beaten,”

Modus Operandi

The Procurement Division of the Treasury Department, Section of Painting and Sculp- ture, successor of the P. W. A. P., is inviting competition for two mural groups in the post office and court house at Wichita, Kansas. This type of decoration is one of the regular items let by contract with the government on new federal buildings and is completely di- vorced from any relief measures in effect. Any artist resident in or attached to that region is eligible for the competition regardless of his financial status. The Wichita project is one of the first under the new law and will be watched with much interest by artists all over the country.

The treasury department has set aside $1,880 to pay for the two murals, this to cover com- plete cost of execution and installation. C. A. Seward, director of the Kansas State Federa- tion of Art, will act as chairman of the com- mittee that will be in general charge of the competition, his co-members being Mrs. Henry J. Allen and Alton H. Smith. This committee will act as preliminary jury on the designs submitted. The designs which, in their opin- ion, are outstanding will be sent to the Section

In “Weather Beaten,” Sold in South, Homer “Conquered” the Sea

“Weather Beaten,” by Winslow Homer. Winner of the Gold Medal of Honor at the Pennsylvania Academy in 1896, this Painting is Today Regarded as an American Masterpiece,

are as bold and unyielding as nature herself.

Literally “baptised in American water,” Homer’s pictures have the homespun accent of American provincial painting. Unlike Whist- ler, he had neither the money or the desire to live in Europe, but remained at home work- ing uninterruptedly. His training developed directly out of the school of popular illustra- tion. At the outbreak of the Civil War he went to the front as special correspondent for Harper's Weekly, and won popular success, both here and abroad, with his war scenes and his anecdotal observation of negro life after the war. It was this period Homer de- voted almost exclusively to magazine illustra- tion and to painting scenes from everyday

of Painting and Sculpture, Procurement Divi- sion, Washington, for selection of the best de- sign or designs. Each mural group will con- sist of one panel with an approximate area of 47 square feet. It is expected that contracts will be awarded to different artists for each of the two separate spaces.

Artists submitting designs should send them to C. A. Seward, Western Litho Building, Wichita, not later than May 1, 1935. Because of its general interest to artists, THe Arr Di- GEsT reprints from the Wichita Eagle the rules and regulations for the competition:

The artists whose designs win the competi- tion will be required to execute formal contracts with the United States, agreeing to execute fin- ished murals from their submitted designs.

Blueprints will be furnished with dimensions and specifications as to the places to be decorated.

The subject matter should have some relation either to the post, local history, past or present, lecal industry or pursuits. This may be inter- preted freely. In other words. as distinguished and vital a conception as possible is desired.

The artist who receives the commission will be required to pay all expenses in connection with execution and installation of this work.

The sum of $940 will be paid for each mural group in three separate installments. The first installment, one third of the total sum, or $313, will be payable after the successful competitor has signed the contract and after formal ap- proval by the director of procurement of his de- signs; which designs shall thereupon become the property of the government,

life. Finally in 1884 Homer gave himself exclusively to painting and retired to Prout’s Neck to devote the remainder of his life to the drama of the sea.

Bound to nature, Homer’s reaction was neither mystical nor poetic. He had the American sense of fact in high degree and expressed himself with grand and simple power. He became so absorbed in the theme of the sea that he waited sometimes for years to get some desired effect. In order to have the scene before him he used a portable hut which he moved about the shore, so that he could get close to the sea in stormy weather and record such genuine effects as found in “Weather Beaten.”

The second sum, one-third of the total amount, will be payable when, in the opinion of the di- rector of procurement, the mural group is half finished.

The balance, of $314, will be payable after the mural group is completed and accepted.

The medium and material to be used by the artist must be approved by the local committee and by the director of procurement.

Designs should be on a two inch scale (i.e., 2 inches to the foot) and should give as clear an idea as possible as to how the proposed mural group will look when completed. It would be advisable to look at the spaces themselves before designing. Designs must be sent unframed, with- out glass.

The designs should not be signed. They should be accompanied with a plain sealed envelope, enclosing the artist's name and address. These envelopes will be carefully numbered when re- ceived with the same number as the designs they accompany, and will remain unopened until after the competition is closed.

In other words, the local committee will send the designs which it deems best (with the sealed envelopes unopened) to the section of painting and sculpture, procurement division, and selec- tions will be made without knowledge of the names of the artists.

This is an open competitiin and is not limited to those artists invited. Any artist resident of. or attached to, the region, who wishes to may enter.

Any artist may submit as many designs as he desires, Should he submit more than one de- sign, he should remember to send a_ sealed envelope, with his address, with each entry.

If no designs are submitted which are of suffi- cient merit to justify a recommendation by the section of painting and sculpture, no contract will be awarded; and all designs will be returned to the artists.

a: Toe

—$ rrp

Revolt

The Salon of the Rejected now being held at the Modern Galleries in Philadelphia as a protest against the Pennsylvania Academy of the Fine Arts by artists whose works were turned down by the jury of selection, has drawn forth this article by Dorothy Grafly, art critic of the Philadelphia Record:

“The state of art and artists in Philadelphia today is peculiarly analogous to that of Paris at the turn of the century. Seething beneath the surface are hopes, fears, animosities. Groups and individuals bite each other in the dark, and there is a rehash of the eternal battle between young and old; the established and the revolu- tionary.

“Institutions, from their inception, have served a useful purpose. Any business man knows that the best way to put over a new idea is to present a concrete platform at which both enemies and adherents may fire. Salons, academies and institutes are by their nature targets. The sheer act of establishment often proves a red rag to the bull cf radicalism.

“If, however, one studies the march of art progress, radicals come off with a greater num- ber of ultimate honors.

“Each great discovery is thus a culminating outburst and marks the historical moment at which a flower ripens into fruit, to be plucked and eaten. Yet even when ripe, it is not al- ways appreciated. Tomatoes flamed a luscious red for many years before men, overcoming their traditions of fear, looked upon them as food rather than as poison.

“Philadelphia is tasting gingerly the flavor of her art tomatoes.

“For the last 10 years the youth of the city has been developing in an atmosphere not wholly impervious to new art thought. Mothers and fathers who revel in the traditional repre- sentational art of their own childhood find to their consternation that their children prefer the less comfortable, more electric product of modern experiment.

“It is interesting to note that the present 130th annual exhibition at the Pennsylvania Academy of the Fine Arts, so obviously tuned to the early years of the century, proves shocking to youth and pleasing to middle- aged. Even posters advertising the show bear in lieu of some vital contemporary work of art a reproduction of the ‘Winged Victory.’

“But as in Paris, when the Salon reached its most representational level, revolt has be- gun. For the first time there is sufficient courage to rally progressive forces, and to take public stand against stultification in a Salon of the Rejected.

“Paris knows well, through the experience of its Luxembourg and Louvre, that the health of art lies in revolt, and that if there were no opposition there could be little progress. Manet, once an outcast, has become little less than a god. Cézanne, repudiated and spat

J. B. NEUMANN

invites you to

FRANK HERRMANN’S

exhibition of new work at CONTEMPORA ART CIRCLE 509 Madison Avenue, New York

At 53rd Street

Toledo Acquires Two Van Gogh Paintings

The Art Digest, Ist March, 1935 13

“Maison & Auvers,” by Vincent Van Gogh

Two important landscape paintings by Vin- cent Van Gogh, eccentric 19th century Dutch painter who died by his own hand after a life filled with frustation and tragedy, have been acquired by the Toledo Museum of Art. The paintings are “House at Auvers,” purchased from the Durand-Ruel Galleries, New York, and “Wheat Fields,” bought from the Wilden- stein Galleries, New York, and reproduced in Tue Arr Dicest in its June, 1934, issue. An- other important purchase made by the Toledo Museum for its French Impressionist section is Pissarro’s “Peasants Resting,” also acquired from the Durand-Ruel Galleries.

“House at Auvers” was painted in the last year of the artist’s short life, in 1890, the year in which he committed suicide. At that time Van Gogh was living with Dr. Gachet in the little town of Auvers, not far from Paris. The painting is mentioned in Van Gogh’s letters

to his brother, Théo, and is a typical example of his last period of painting. It was form- erly in the Bonger Collection at Amsterdam, and was exhibited at the Amsterdam Munic- ipal Museum in 1905 and at the Exhibition of Great French Masters at the Durand-Ruel Gal- lery in 1934. Bright with Van Gogh’s vital color, it is charged with the frenzied action and restless strokes that marked the unhappy artist’s work. During the time it was being painted Van Gogh was under the shadow of insanity, having beein submitted to the care of Dr. Gachet, whose portrait by him is in the Frankfurt Museum, Germany.

During his lifetime the only one who believed in his art and who helped him was his brother. Vincent’s letters to him, dated from 1872 to his death, are moving documents of his tragic life. His last picture was painted on July 14, fifteen days before he shot himself at 37.

upon, shines today as an art Messiah.

“Had Manet and Cézanne met with imme- diate recognition and acclaim, who knows whether their careers would, today, constitute important chapters in the history of the con- temporary movement?

“Tronically, it has been the institutes and the academies that have mothered new ideas through their resolve to stifle them.

“Philadelphia possesses today all the ele- ments for constructive revolt. Her Salon of

the Rejected, may prove the open sesame for a new order. Just as similar salons in France forced the hand of institutional self-satisfac- tion, and gained a place for courageous ideas on the very walls that once repudiated them, so in this city the time is ripe for a reshuffling of the cards. Only fear can checkmate the prospect of a more liberal future, petty fear on the part of the individual artist who holds back because he dreads censure from institu- tional juries.”

JOHN LEVY GALLERIES, Ine.

PAINTINGS

ONE EAST 57th STREET, NEW YORK

14 The Art Digest, 1st March, 1935

Shinn, Newspaper Trained, Has Exhibition

“Exit Clown,” by Everett Shinn.

Everett Shinn, well known illustrator and decorator, is holding his first exhibition in many years at the Morton Galleries, New York, until March 9. One of the “Eight Americans,” who broke from the ranks of dark brown painting to express the American scene in their own colors, he received his start from Stanford White, architect. The original members of this little band that first exhibited at the Macbeth Gallery in 1908 were Robert Henri, John Sloan, George Luks, William Glackens and Everett Shinn. They were later joined by Arthur B. Davies, Maurice Prender- gast and Ernest Lawson. During their first appearances in the exhibiting ficld they were dubbed “The Ashcan School.”

Like the rest of the original group, with the exception of Robert Henri, Shinn’s artistic career began as a newspaper and magazine illustrator. In those days modern methods of photo-engraving had not been perfected and the pictorial reporter was a_ standard feature of the daily press. Sloan, Shinn, Luks, Glackens and a host of others depicted scenes of everyday life. “These painters,” wrote Hol- ger Cahill in “Art in America in Modern Times,”—“artists of the passing show of city streets,—did a great deal to free American art from its shallow aestheticism, its Victorian sen- timentality and its cult of insipid prettiness.

“One of the things these newspaper-trained artists believed in was the relevance of art to

MEMORIAL EXHIBITION

PAINTINGS BY

HENRY GOLDEN DEARTH,N.A.

one of the most distinguished figures in’ American art.

SELECTION IS OF GREAT INTEREST, ILLUSTRATING HIS WONDERFUL ABILITY AS A COLORIST.

MARCH 2 to 30, 1935

FRANS BUFFA & SONS

58 WEST 57th STREET

NEW YORK CITY

Rare Volumes

Books on the fine and applied arts from the library of the late Joseph Breck, formerly assistant director of the Metropolitan Museum of Art, and a collection formed by the late William W. Renwick, the property of the Ren- wick Studios, Inc. of Short Hills, N. J., will go on exhibition March 2 at the American Art Association-Anderson Galleries prior to sale

“on the afternoon of March 6.

More than 3,500 photographs of architec- tural monuments of all periods are catalogued as one item; John Britton’s “The Architectural Antiquities of Great Britain,” London, 1835, is a five volume set remarkable for it numerous fine plates. Standard works on ornament in- clude Owen Jones’ “Grammar of Ornament” with 112 lithographic plates in color and M. A. Racinet’s “L’Ornement Polychrome,” a col- lection of designs with 100 colored plates and text illustrations.

In the field of mediaeval art are such im- portant works as “Les Arts au Moyen Age,” “Moeurs, Usages et Costumes au Moyen Age,” “Vie Militaire et Religieuse au Moyen Age,” “Science et Lettres au Moyen Age,” the writ- ings of Paul Lacroix. The series also treats of laces, fans and costume in general, illustrated by chromolithographic plates and wood engrav- ings, embracing seven volumes, published in Paris, 1869-89. Another group of items deals with gardens of various countries and periods.

In the field of rare books the Willcox “et al” sale, on exhibition March 8, to be sold March 13-14, will bring to the market a leaf from the Gutenberg Bible. Selections from “the libra- ries of the late Charles MacAllister Willcox of Denver and of John Myers O’Hara of New York, and the~balance of the-Eugene..Field col-

lection of the late Mr. and Mrs. William K. _

Bixby of St. Louis, and other properties, make up this catalogue.

life, to the life of the man in the street. They were interested in social and political ideas, in the writings of Edward Bellamy and Henry George, the optimistic Americanism of Walt Whitman, the humanitarianism of Tolstoy, the economic and historical theories of Karl Marx, in the labor movement, in the whole complex of late 19th century idealism which ranged from old fashioned liberalism to socialism and communism.”

With this romantic background Shinn con- tinued to exhibit in all the leading New York galleries. His following was great and his com- misions numerous. He branched off into the commercial field, illustrating for American mag- azines, and painting murals and decorations. The entire interior of the Belasco Theatre, New York, was decorated by Shinn. This versatile artist has entered into many fields. At one time he was art director for several film studios in Hollywood and on Long Island. As a playwright, Shinn has the distinction of hav- ing his travesty “More Sinned Against Than Usual,” played for 23 years. Based on the tearful melodrama of forgotten years, this satirical .piece’ by Shinn. was translated into seven different languages.

Oils, pastels, water colors, and red chalk drawings make up Shinn’s exhibition. Recent work is combined with some of the old favor- ites with which Shinn. won ,his recognition. The stage, back stage and circus performers have always been a frequent topic with him. He captures the performers in action, swinging through the air, poised in a-tricky feat; or in the ‘middle of a dance. The Metropolitan Museum owns Shinn’s “London Music Hall Performer,” and ‘the Chicago Art Institute has “London Hippodrome—Girl on Trapeze.”

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—_—_—_—_—_—_—_—v

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The Twain Meet

The first united display ever held by Japa- nese artists in New York may be viewed at the A. C. A. Gallery in West Eighth Street until March 2. Under the sponsorship of the Japa- nese Times, it contains such well-known names as Yasuo Kuniyoshi, Isamu Noguchi, Chuzo Tamotsu, Thomas Nagai and Bumpei Usui. One of the contributing artists is Mme. Sawada, wife of the Japanese Consul General of New York, apparently the only one who has not fallen under Western influence. It is interest- ing to note the Occidental technique and view- point acquired by the artists. Especially no- ticable is the cultivated realism which domin- ates the work.

“Oriental feeling for design is evidenced throughout the showing as well as Occidental, forthright realism,” said Margaret Breuning in the New York Post. “The most interest- ing works are those in which both East and West meet, a piquant touch of traditional flavor modifying the character of our contem- porary modernism.” Melville Upton of the New York Sun found the display an “odd mixture, Japanese in name only to a large extent. For the most part the exhibitors are tricked out in Western attire, through which native traits occasionally show rather awk- wardly.”

Whereas the exhibition may have been an interesting idea, it brought no hearty response from Emily Genauer of the New York World- Telegram. “It is to be regretted that most of the painters represented have abandoned the old Japanese concept of painting for Occidental techniques and points of view. They have substituted for the ancient and honorable prac- tice by which detail is so engagingly combined with a breadth of treatment which eliminates non-essentials and utilizes most effectively blank spaces, the Western style, chiefly influenced by Paris, to which they contribute nothing.”

Western Art

Each year the Foundation of Western Art at Los Angeles, Cal., plays host to ten annual exhibitions in addition to many special shows, thus sponsoring a comprehensive art program in its community. Special emphasis is placed on the work of regional painters of the Far West.

California water colors, crafts, prints and etchings, and work by California modernists are included in the yearly exhibits at the Foundation, as is work by desert and Indian painters, Western contemporaries and an ex- hibition of school arts. This year the special shows include regional displays from San Fran- cisco, Laguna Beach and Orange County, Santa Fe and Taos, and Pasadena. The program also includes Southwestern arts and crafts, California figure painters and work by Cali- fornia Oriental painters and sculptors.

HE PAINTED BEAUTY FROM A HEART OF PAIN

By Gordon Cooper in New Hope News.

His palette was a broken heart; its oils his own warm pulsing blood; his brush @ sweeping wand to chart, and blast a tree or burst its bud.

He painted with a thwarted dream—and thought to cloak its retching pain, with sunset bathing hill and stream, to prove that life was not in vain.

I did not know it then, but now—as heartache grips my sobbing breath—I See its shining trace, and how—it limned the shadowed form of death!

The Art Digest, 1st March, 1935 15

Art of Mary Cassatt Is Shown in Retrospect

“Jeune Mére et Ses Deux Enfants,” by Mary Cassatt.

Paintings and pastels by the late Mary Cas- satt, acclaimed by many as the most distin- guished woman painter America has produced, are on view at the Durand-Ruel Galleries, New York, until March 2. Like the Impres- sionists—to whose school she belonged—this dependable painter was concerned with mat- ters of light, but she did not employ the spec- tral palette. Instead, her work is closer to that of Degas and the later work of Manet, the two whom she recognized as her true masters. The luminosity and high color of Mary Cassatt’s pictures, the pleasing gracious- ness and the quiet vitality in them are dis- tinctive qualities which have separated her art from that of any other American. Her controlled force of draftsmanship and her knowl- edge of flat painting are in great evidence in such a display as this, which consists of 18 pictures.

Mary Cassatt’s paintings have always had a “golden rightness” about them, is the dis- covery of Malcolm Vaughan of the New York American. “They seem more golden than ever, today, now that a thousand American women are briskly imitating energetic, mas- culine modes of painting. Mary Cassatt pos- sessed skill and strength enough to undertake any subject she might choose. But she chose subjects peculiarly feminine—delicate figure- pieces and mothers with their children—wish- ing, thus, to be true to her deepest self and proposing, thereby, to crown her work with a subtle sentiment that men can only fancy.” “In spite of a certain monotony, due to the

fact that she confined her subject matter en- tirely to women and children, her work wears well,” said Melville Upton of the New York Sun. “Perhaps, this is accounted for by its peculiarly sturdy quality, and, generally speak- ing, its freedom from sentimentality. It has, naturally enough perhaps, considering her long familiarity with his work, something of the integrity with which Degas invested the things that came from his hand.”

Mary Cassatt’s life was interesting and va- ried. As an expatriate she lived most of her life in France, forming friendships with famous painters, about whom she reminigced when she was a lonely and embittered old woman. As the sister of the president of the Pennsyl- vania Railroad she had solid finaacial support, enough to enable her to become an active co- operator in the speculation of contemporary art and in the developing of the American market.

With Mrs. H. O. Havemeyer, her life-long friend, she made several expeditions to Spain, Italy and Flanders searching for pictures for the Havemeyer collection. Towards the end of her long career as an artist, estimated at about 50 years, she became blind. She be- came increasingly bitter against her old friends, the French, and the younger group of artists whom she branded as “shirkers,” wasting them- selves in the cafés of Paris. The deaths of

relatives and friends made her feel more acutely the loneliness of a foreigner in an adopted land. She died in France in 1926 at 81 years of age.

16 The Art Digest, Ist March, 1935

Two Leading Hungarian Artists Hold Joint New York Exhibition

Er EER

“Sunset on Lake Balaton,” by Bela Ivanyi-Griinwald.

As a gesture of international good will, a joint exhibition by two of Hungary’s leading artists is being held at the E. & A. Silberman Galleries, New York, under the auspices of the American-Hungarian Academy of Art and the Royal Hungarian Government. These two artists, Vilmos Aba-Novak and Bela Ivanyi- Griinwald, have been honored throughout Eu- rope and are known to American art lovers through inclusion in the Carnegie Internation- als, but this is their first comprehensive show- ing in this country.

Aba-Novak, born in Budapest and still in his early forties, is as-a painter a “self-made man.” Since his first one-man show in 1922, he has exhibited in most of the principal cities of Europe, among them Venice, Warsaw, Stock- holm, Rome, Milan and Paris. While a fel- low of the Hungarian Academy in Rome, sev- eral of his paintings were purchased by the Italian Government and one, “The Card Cheat- er,” by Premier Mussolini for his private collection. Il Duce thought that a better title for his purchase would be “League of Nations.”

Aba-Novak, according to Tibor Bartok, is one of the few modern painters who have “dared to emancipate themselves from the theory advanced by the aesthetics of modern art, namely that there are no themes but motifs only.” He goes in for themes no mat- ter how complex, and takes for his models human beings just as they are, happy or

Wanamaker Art Auction

Art property from the estate of the late John Wanamaker, Jr., together with property belonging to other legatees of the late Rodman Wanamaker, will go on exhibition at the American Art Association-Anderson Galleries March 9, prior to dispersal the afternoons of March 13, 14, 15 and 16. Rodman Wana-

CRONYN & LOWNDES PAINTINGS BY PERCY ALBEE through March 16th

113 Rockefeller Plaza, New York

grieving, eating, drinking or peacefully smok- ing. He paints village weddings, processions, church festivals, peasants dancing in country inns or on village commons, scenes laid in Hungary or in Italy. Blind fiddlers, beggars who show the wear and tear of life, and hoboes on the Hungarian heath, the “Tanya,” fur- nish favorite models. Aba-Novak loves the travelling circus, its colorful life, in which romance and poverty are the component in- eredients. This is a theme he returns to again and again.

Ivanyi-Griinwald, a native of Somogy-Som now in his late sixties, is one of the founders of the artist-colony at Nagybanya, which has produced a number of noted Hungarian art- ists. He has been awarded the Great Gold Medal of the Hungarian Government, the Great Gold Medal of the International Exhibi- tion at Barcelona and other prizes. His paint- ings have been acquired by the King of Italy, Arnoldo Mussolini, the recently deceased brother of Il Duce, the Museum of Budapest, the Museum of Belgrade and several public institutions in Italy.

Starting his career under the influence of the Impressionist School, Ivanyi-Griinwald found a vast amount of material for his paintings in this vein in the Hungarian plains and lakes. When he became identified with the artistic colony of Kecskemet in the heart of the Hun- garian gypsy settlement, Ivanyi-Griinwald be-

maker was a patient and discriminating collec- tor of antique French, Italian and Dutch pharmacy jars and bronze mortars, and ex- quisite Yung-Cheng and Ch‘ien-lung jades. One of the outstanding items in the latter group is a Ch‘ien-lung carved Fei-Ts‘ui in- cense burner, finely conceived and polished to a sparkling brilliance. It is executed in mag- nificent crystalline jade, mainly in the prized kingfisher green, with a brown area near one handle, and paling to a greenish gray under- foot.

A group of unusual garden art, furniture and ornaments, collected by Karl Freund, will be sold at these galleries the afternoons of March 22 and 23, following exhibition from March 16. Also in this sale will be furniture, tapestries and decorative objects.

“The Card Cheater,” by Vilmos Aba-Novak.

came intensely interested in depicting gypsy life and customs, producing some of his most brilliant canvases. Mr. Bartok, in a_bio- graphical note, says: “Ivanyi-Griinwald is exceedingly popular in the gypsy quarter of Kecskemet; he is well-nigh worshipped by its swarthy denizens both because of his gener- osity to them and for his love of gypsy life. It happened time and again that other artists were unable to secure gypsies as models, be- cause all gypsies of Kecskemet, old and young, were only interested in posing for Ivanyi-Griin- wald. Frequently he would sally forth into the ‘puszta’ with an entire caravan and sketch them against the background of the Hungarian heath, the gypsy’s natural stamping ground.”

The Silberman exhibition was formally opened by John de Pelenyi, the Hungarian Minister to the United States. The committee of pa- trons includes: Mrs. John de Pelenyi, Lady Charles Rotschild, Mr. and Mrs. John Schiff, George H. Wickersham, president of the Ameri- can-Hungarian Society, and Nicholas Roose- velt, former United States Minister to Hun- gary. The American directors of the Academy are George William Eggers, head of the art department of City College; Frank Jewett Mather, Jr., professor of history of art at Princeton; Robert B. Harshe, director of the Art Institute of Chicago and A. Silberman, director of the American-Hungarian Chamber of Commerce.

17 John Kanes Bring $15,000

Although John Kane, Pittsburgh “primitive,” parted with his paintings for $75 or $100 each during his lifetime, a total exceeding $15,000 has just been paid for 17 of his canvases sold from an exhibition at the Valentine Galleries, New York. Four were bought by Dr. Albert C. Barnes for the Barnes Foundation at Merion, Pa. The Detroit Institute of Arts purchased “Old St. Patrick’s.” Other buyers were New York collectors. Prices ranged from $300 to $5,000.

Frances Perkins, Secretary of the Depart- ment of Labor, had the Kane exhibition trans- ferred to the new Labor Building in Wash- ington as a monument to the artistic expression of this working man.

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Hoffman Finds ‘American Scene’ Underground

“Mine Tragedy,” by Irwin D. Hoffman.

The coal mine country is the main theme of Irwin D. Hoffman’s exhibition at the Ehrich- Newhouse Galleries, New York, until March 9. With both of his brothers mining engineers, Hoffman has gone into the mining sections of Pennsylvania, West Virginia and the Western states, traversing miles of underground work- ings in all varieties of mines to sketch the men working. He has gone down into the silver mines where life is doubly dangerous because of soft rock, and was inspired by these under- ground Trojans, toiling semi-nude in the soft dimness of carbide lamps, their bodies glisten- ing with sweat and grime.

The most ambitious and impressive of these canvases is the “Mine Tragedy,” reproduced above. Somber in treatment, it portrays two figures carrying a third, a dead man, out of a mine. In the recent Whitney Biennial, this canvas was described by Horace Gregory of the New Republic as being “reminiscent of a classic ‘Descent from the Cross.’ Hoffman’s color is dark and heavily laid on as though he had crushed and colored bits of soft coal. In his underground scenes there is a damp and

“Painting of the Month” The Upper Montclair Woman’s Club has just formed the first chapter of Contemporary Arts’ “Painting-of-the-Month Club.” A _ re- ception was held on Feb. 23 in the Club House, where there was on view:an exhibition ar- ranged by Contemporary Arts, New York.

MARIE HARRIMAN

GALLERY

PAINTINGS BY

JOSSELIN BODLEY

March 11 to 30 61-63 EAST 57th ST.. NEW YORK

eerie atmosphere, almost phosphorescent.”

Hoffman finds his favorite section of “the American scene” amid the bleak and grimy coal regions, where mountains of fuel are brought from the depths of the earth by toil- ing human ants. In his mine interiors, the art- ist has caught the tension of peril. Ingenuity, courage and resourcefulness are characteristics of these underground workers. Hoffman was particularly impressed by the spirit of com- raderie among these men, who have an in- tuitive understanding of common danger and feel the necessity for complete teamwork, car- ried on with a minimum of discussion, each helper finding his place and task readily.

Besides the mining subjects, there are Mexi- can scenes done during Hoffman’s visit in 1933. Here too, the artist was deeply impressed by the people who still retain all the undiluted traits of a simple race. These paintings bear out Hoffman’s own comment that he likes “to paint people who work for a living, un- tainted by idle indulgences—people reaching to the earth, both under and upon it, for their livelihood.”

Mary Cecil Allen, author of “Painters of the Modern Mind,” was guest of honor and, after a short talk and a spirited general discussion, she withdrew from a bowl the membership slip bearing the name of Mona Saxe, who selected from the exhibition Martha Simpson’s “Window Ledge” as her prize.

The aim of this organization is to inculcate and foster the desire to own good contem- porary American painting. The public inter- est in the monthly receptions in New York has grown steadily. Each month’s “Club” is formed afresh and membership ($1) is open to anyone interested. Application may be made at Contemporary Arts, 41 West 54th St., New York. The next reception will be held the evening of March 31 at the Park Lane Hotel. The guests of honor will be Alexander Brook and Peggy Bacon.

The Art Digest, Ist March, 1935 17

Public Sale March 13-16 Inclusive

AMERICAN ART ASSOCIATION ANDERSON GALLERIES - INC.

Art Property of the Estate of the Late

John Wanamaker Jr.

and of

ELIZABETH PELTZ WANAMAKER

REMOVED FROM 817 FIFTH: AVE. and 12 WASHINGTON SQUARE, N. Y. Sold by Order of ELIZABETH PELTZ WANAMAKER

As Temporary Administratrix and Personally

With Property Belonging to Other Legatees

of the Late Rodman Wanamaker

Removed from 12 WASHINGTON SQUARE, N. Y.

Sold by Their Order

Beautiful Chinese hard-stone carvings including coral figurines, a superb fei-te’ui jade incense burner of Imperial origin, and other important white and green jade carvings.

A large and interesting group of faience drug jars, alberelli, to- bacco jars, and bronze mortars, as well as the fine seventeenth century paneled walnut phar- macy room in which they were displayed by the late owner.

Fine needlepoint and tapestry furniture. Oriental rugs, tapes- tries, antique fabrics, important Georgian silver, paintings, prints, and other decorations.

Illustrated Catalogue One Dollar

Exhibition from March 9 Bids Executed Free of Charge

American Art Association Anderson Galleries, Inc.

30 EAST 57TH STREET NEW YORK

18 The Art Digest, Ist March, 1935

New York Criticism

[For a New York art critic to be quoted in THe Art Dicest, is calculated to lift the critic out of a regional morass. However, to get quoted in this department, he has to say something constructive, destructive, in- teresting or inspirational. To exclude the perfunctory things the New York critic sometimes says, just to “represent” the artist or the gallery, is to do a kindness to critic, artist and gallery.]

John Noble, Romanticist

The well selected memorial exhibition by John Noble, who died a year ago, has been extended at the Ehrich-Newhouse Galleries un- til March 2. A rugged son of the prairies, Noble came to the sea for inspiration, to cap- ture the menace, power and mystery of the ocean. “Noble was a mystic and a_ poet,” writes Henry McBride in the Sun. “The inno- cent look that “the sea puts on at times did not fool him, scarcely interested him. Instead he recorded the murky mists, particularly the copper-colored ones that bode so little good and painted such large vistas of the sea coast that we could feel the perilous exposure of the fish- ing villages to the menace of the storm. He even dared to paint the moon in a football shape, knowing that refraction does that to it at times and confident that others than him- self had seen the same effect. No one, how- ever, would be apt to question any of the ef- fects he proffered, since they were steeped in sincerity.”

As a man of original imaginative power, Noble saw the world in his own way, and so painted it, according to Royal Cortissoz of the Herald Tribune. “It was a way that made the most of color without ever forcing a note. Indeed, white is often the basis of some of his most characteristic effects. But it was a white peculiar to him, a rich and lovely white, as you may see in the sails of his ‘Mystery Ship.’ Whatever he painted had the accent of mys- tery upon it, of the sea rendered strange and beautiful through the play of his temperament in his interpretation of it. It was interpreta- tion in which he dealt, never a crass realism. He got objective truth’ into his art, in a mea- sure, but more important was the truth as he emotionally felt it.”

Having found his subject and lyrical style early in his maturity, this artist, says Malcolm Vaughan of the American, “clung to them throughout his career, changing what he had to say in so much as he varied this or that proportion, employing here a deeper, there a paler, palette; now veiling his forms beneath a silver haze of atmosphere; now sharping his design until it dominated the color.

“Noble was born out of time. The sort of lyricism for which he stood went out of fashion a quarter-century ago and he was left in ad- versity without the comfort of applause or the inspiration of an audience. But he stood faith- ful to his Muse and remained, for many years, a first-rate painter, a true romantic, and one of the most individual American artists of

his generation. Eventually his art will be re- vived and the fame that was denied him will be wreathed about his tomb.”

* * »

Raphael, One of Three Soyers

Raphael Soyer, best-known of the three Soyer brothers, who have jointly developed a strong “family” style, is exhibiting ‘his. paint- ings at the Valentine Gallery through March 7. Since Soyer has chosen the themes he knows best to portray in a straightforward man- ner, his art has soared so high, according to Malcolm Vaughan, of the American, that “he has become one of our most telling figure paint- ers. The subjects he chooses are New York office girls, of the thin, wiry, alert, efficient type who are the mainstay of our commerce. He paints them after business hours, at home, relaxed, though still showing in their intense faces the nervous strain of their days.

“The type is not particularly enticing. Soyer sees to it, however, that they grip our imagina- tion—in the way that Degas exalted the shop- weary milliners and laundresses of Paris—by making them impressively, unforgettably true to life. . . . Soyer needs to widen the range of his palette; he should set himself to solving more difficult problems of design, and he could add further strings to his bow by varying his subject matter. But these desiderata must develop in time, for he strides rapidly forward. Already he has, in the direct spirit we call American, achieved so much that he may be called as promising a painter as we possess in our younger generation.”

It is Edward Alden Jewell’s opinion that Soyer’s finest work is done in the lithographic medium. “But as a painter,” wrote Mr. Jewell in the Times, “he can be very adroit, if also, at times, unconvincing. Several of the present canvases may be considered in advance of any he has heretofore shown. There has been a noticeable improvement in composition. His brushwork has become subtler, his accent light- ing more lucent. . . . Tenderness and a kind of brooding strength attend the journeys of Soyer’s brush. Not always do these journeys upon canvas come to happy endings, but again and again the results are admirable.”

“The Soyers must be one happy family,” remarked Emily Genauer in the World-Tele- gram. “Evidently Moses looks over Raphael’s shoulder as he paints, Isaac leans over to watch Moses, Raphael regards them both, and then the three all sit down and talk things over.”

In the opinion of Henry McBride of the Sun, Raphael “paints with feeling, and feeling is a virtue, and draws intelligently and sensitively, but there is still too much studio work about his pictures and not enough intensity. In par- ticular there is a lack of air. In a group of heads posed closely together there is not the recession in values that you would observe in a Daumier or a Degas.”

What mostly remains in the memory of Royal Cortissoz of the Herald Tribune is “the fluent efficiency of Soyer’s workmanship. He is facile, deft, a naturally gifted painter, and what he does has almost invariably a certain vitality

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which is in part due to his human sympathy and in part to his technique.”

Saul, the Non-Spectacular

Saul, exhibiting at the Midtown Gallery until March 5, seems to be content in being just a painter. It is as a painter enamored with his medium that he has won the admira- tion of the critics. In pushing his medium to its fullest expression, “he finds no necessity, ‘apparently, for striving after originality and strangeness,” said Melville Upton of the Sun. “He lets his sub-conscious promptings come unbidden, coloring his vision perhaps unawares. Meanwhile his painting grows in quiet accom- plishment and sympathetic insight.” It is in his simplest studies that Saul is “most spon- taneous, most effective,” in the opinion of Car- lyle Burrows of the Herald-Tribune. “He paints with a relish for rich and luscious pigment and is an able, though not infallible draftsman. He has yet to show the same authority in a major pictorial work that he achieves in his more impromptu studies.”

Emily Genauer of the World Telegram thinks Saul is a splendid example of a “painter’s painter.” “He glories in pure painting,” she wrote. “No abortive efforts for originality or drama here. No attempts to depict soul-sear- ing, devastating emotions. No mordant striv- ing to incorporate within the borders of his canvas the solution to all the ills to which the world is heir.

“Saul is primarily a painter, and as such interested primarily in what can be done with pigment on canvas. He explores surfaces and textures. He orchestrates colors. He juggles forms. Never, however, does he fall into the trap which has lured so many contemporary painters, discovering new technical values at the cost of clear articulation. Never, for in- stance, do his pictures become mere exercises in paint, like the scales of the practicing con- cert singer, never meant for public ear, or the more far-fetched compositions of the abstrac-

tionists.” * * *

De Martini and His Use of Black

Superlatives were used by Emily Genauer of the World-Telegram in her summarization of Joseph De Martini’s show at the Eighth Street Gallery (until March 9). Nothing less would do for these paintings, she asserted in the World-Telegram. “They have a grandeur and nobility which recalls Winslow Homer at his best; a profundity shared by few modern painters; a richness and range of color which are extraordinary in canvases as low in key as most of these are. No flashing, brittle tech- nique here; no empty virtuosity or superficial adroitness.”

De Martini makes predominant use of black, probably for psychological effectiveness. Velas- quez also used black quite freely, as pointed out by Charles Z. Offin in the Brooklyn Eagle, yet his paintings “never had the macabre qual- ity found in the work of present day painters, who rely on the use of black paint for their effects. Velasquez used it to suggest depth of atmosphere and enveloping shadows.” Al- though De Martini is one of these painters, according to Mr. Offin, “he uses black with uncommon skill and subtly fuses it with an appropriateness of design that stamps his paint- ings with an authentic if. disturbing note.”

Carlyle Burrows of the Herald-Tribune said: “He has feeling, strength and originality—a painter who makes one feel the realism of Courbet in his seascapes, without complete sac- rifice of the essential feeling of modernity which his work holds. . . . There is dark, gleaming color—thickly and smoothly applied—that lends a ‘romantic’ tinge. De Martini will never be

i |

a showy painter, but from now on, at least, he promises to be a very real one.

* * *

Mixed Feelings About Kalish

Well known for his long series of labor sub- jects and classic nudes, Max Kalish is seen in the role of a portrait sculptor at his exhibi- tion of 50 statuettes of prominent people at the Grand Central Galleries (until March 2). “These full length portraits, about 18 inches in height,” said Carlyle Burrows of the Herald- Tribune, “have the merit of giving the subject a complete picture of himself; but from an artistic standpoint they are not entirely con- vincing.” *

In his review of the show, Howard Devree of the Times found that Kalish, since his pre- vious exhibition, had “gained in strength and originality” and that “his work reveals less of certain source influences which marked his earlier figures. Notably is this true in the labor and athlete subjects and one or two of the lyrically beautiful black marble torsos. On the other hand, it must be said that cer- tain of the bronzes in modern costume do not come off and the plaster of Lily Pons might well have been omitted. . . . Kalish’s work is uneven in quality. All of it is instinct with a feeling for long line and simplified effects.”

se *

Campigli, Curious and Provocative

Massimo Campigli, Italian artist who paints in Paris, held his first American exhibition at the Julien Levy Galleries three years ago. His recent display of curious paintings at the same galleries led Edward Alden Jewell of the Times to say: “Campigli’s art may be called inter- esting rather than moving. It is static and somewhat glacial; but it is unique. . . . Again we are struck at once with the derivation upon which Campigli builds. These canvases, with their thinly brushed, chalky surfaces, their pale colors, their simplified, angular forms, confess, on the artist’s part, an absorbing interest in ancient wall paintings. Often these pictures appear to be casually composed of old mural details and motifs, assembled from hither and yon as if by some learned antiquarian in whom burns the fire of a nostalgic conquest. There is a Greco-Roman flavor here, though it never comes to us unmixed with subtle overtones that bespeak modern thought and modern taste.”

“Like Seurat he loves shapes and patterns more than volumes,” wrote Carlyle Burrows in the Herald Tribune, “and his two-dimen- sional compositions of bathers and promenaders sometimes recall that painter’s prim lyricism. Campigli finds his subjects chiefly at the sea- shore. But what a difference between him and our Coney Island realists! He has taste, and his conception of nature is reasonable, though somewhat remote.”

* * *

Arnold Blanch Invokes Spooks

Arnold Blanch’s exhibition at the Rehn Gal- leries (until March 9) contains a “rather odd mixture,” as noted by Edward Alden Jewell of the Times, “the gamut running from some of the circus performers, gay in color, to drab and, as a rule, not very characterful land- scapes. Several of the latter are freighted with macabre symbolism: ‘The Third Mort- gage,’ with skeletons hanging from trees; ‘New England,’ epitomized, for this artist, by a scarecrow and an ancient scrapped auto.” These landscapes, said Carlyle Burrows of the Herald- Tribune, “are cut on the Burchfieldian pattern, but -are in reality much more spook- tidden than anything that artist has painted to date. Mr. Blanch had the novel idea to

The Art Digest, Ist March, 1935 19

Cikovsky’s Blurred Form and Poetic Color

“Chess Players,” by Nicolai Cikovsky.

Nicolai Cikovsky, exhibiting at the Down- town Gallery, New York, until March 9; has a sensitive and personal reaction towards the American scene which he uses as subject mat- ter in a few of his 16 canvases on view. In execution and thought his work is similar to that of Raphael Soyer. exhibiting at the Val- entine Gallery until March 7. Both men em- ploy somber tones with blurred forms and shadows, and both seem interested in sad and downtrodden people. Cikovsky’s work, how- ever, lacks the brooding monotony of color that takes possession ‘of Soyer’s canvases, and is less endangered by somnolent workmanship. His color is clearer and more infused with poetic appeal. Even his bare landscapes of Minnesota and Wisconsin are warm with life, and in his still lifes, Cikovsky attains a certain luminous charm.

In describing this artist’s work Carlyle Bur- rows of New York Herald Tribune said: “He

is a capable painter. as he shows in the group

go riding around the country apparently look- ing for old houses fallen into ruin and breath- ing an air heavy with desolation. He has painted them, however. with a good deal of care and some imagination.”

* * *

Little Training, Much Energy

As a painter of “extraordinary energy but very little training,” John J. Ackermann, ex- hibiting at the Montross Gallery. until March 2, was described by Carlyle Burrows of the Herald-Tribune as belonging “to the school of naturally talented but undeveloped painters of whom John Kane was one and Louis M. Eil- shemius is another of the leading American representatives. This artist has abundant imag- ination, as he shows in his vigorously dramatic religious themes, but he knows practically nothing about color and even less about draw- ing. If Mr. Ackermann had gone to school and learned just a’ little about these things, one ventures to say that he would have made a real reputation as a painter. But it is diffi-

cult to believe that he is entitled to one as it is.”

‘Chess Players’ and other figures on display; but it is chiefly as a colorist, using rich tones of green, red and brown that he shines. Gen- erally he ignores the linear quality of form in favor of subtle and feathery modelling with the brush. ‘Wisconsin Fields’ is among the freshest of his landscapes—a clear, gentle, panorama of wheat and farm houses and sky. In others recently painted in the Middle West and in the Berkshire Hills he achieves in trees a tender Corot-like poetry with grays and greens and other colors managed with deftness and skill.”

Emily Genauer of the New York World- Telegram gave a blunt opinion on a certain mannerism of this group of slightly morose young painters: “Cikovsky belongs to the same ‘woolly’ school which seems to have Alex- ander Brook as its guiding spirit. Brook, the Soyers and Cikovsky all employ in their canvases the same fuzzy outline and surface which admirers have for some reason taken to dubbing ‘tender.’ Cikovsky still has it bad in certain of the figures in his current show.”

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;

Do You Know That--

Eighty-two-year-old Michael O’Brien, who quit carrying a brick hod eight years ago because he was too old, was awarded a prise by the Denver Artists Guild for his “Rest by the Roadside,’ painted on a card- board box? ... LeRoy MacMorris is paint- ing a series of religious pictures in a lumin- ous medium visible in full glow in the dark? ...A bas-relief by Arp now in the per- manent collection of New York University’s “Gallery of Living Art” was refused ad- mittance by customs officials, repeating the Brancusi episode? . . . The Washington Monument has a platinum and solid gold peak, a fact brought to public notice by Alex Howie who recently completed the cleaning of the monumental shaft under Federal contract? ... Willy Pogany is paint- ing a 3 by 4 inch portrait of Colleen Moore’s “doll’s house,’ which requires him to look through a magnifying glass while painting? . . . Dawson Dawson-Watson, one of the winners of the $5,000 Texas State National awards for wild flower painting in 1927, is the only artist listed in “Who’s Who in America” from Texas? ... William Katz, painter, went to Palestine recently on a capi- tal of $20, doing brick laying and other odd jobs to help defray the expenses of his ex- hibition there?

Many will wish a happy birthday to Et- tore Cadorin, sculptor, born March 1, 1878, in Italy; Walter King Stone, painter and illustrator, March 2, 1875, Illinois; Dean Cornwell, mural painter and illustrator, March 5, 1892, Kentucky; John Warner Norton, painter, March 7, 1876, Illinois; Albert Sterner, painter, March 8, 1863, Eng- land; H. H. Kitson, sculptor, March 9, 1865, England; Walter Beck, painter, March 11, 1864, Ohio; and to William J. Glackens, painter, born March 13, 1870, Philadelphia?

—M. M. Encet.

A Renoir Retrospective

Renoir canvases painted between 1870 and 1918 are being collected for a special exhibi- tion, from March 11 to 30, at the Durand- Ruel Galleries, New York. This is announced as the most comprehensive showing of the work of Auguste Renoir ever held. Several important paintings never before exhibited in this country are being shipped from Paris for the occasion and private owners in the United States have been generous in their loans,

An admission fee will be charged for the benefit of Hope Farm, a philanthropic com- munity school at Verbanck, Dutchess County, New York, accommodating 200 under-privi- leged children.

New Haven’s Exhibition

The 1935 exhibition of the New Haven Paint and Clay Club is taking place in the galleries of the New Haven Public Library, until March 9. There are 77 paintings by 62 artists and 16 pieces of sculpture by 15 artists in this, the club’s 34th exhibition. Space is given to minia- tures and silhouettes. The prize of $100 for the best work by a member went to Josephine Paddock for “Youth.” The $50 prize for the best work in sculpture was awarded to George H. Snowden for “Play.” William Birkenberger won the $50 prize for the best work by a Connecticut artist with his painting, “Hamelin Town.”

Honorable mentions were awarded to “Per- seus With Head of Medusa” by Francis Scott Bradford, “Stallions With Grooms” by Josef Presser, and “Pomona,” a sculpture by Joseph

ier.

Trying to Settle It

[Continued from page 4] isolation from the French school which, if nothing else, has important and ad- vanced technical knowledge that is avail- able to all artists.”

Next Davis considers the older school of “the American scene,’’—Bellows, Sloan, Coleman, Marin—and then comes what Davis probably considered to be the body blow for Craven:

“The earlier group, however, had the advantage of not being burdened by the vicious and windy chauvinistic ballyhoo carried on in their defense by a writer like Thomas Craven whose critical values may possibly be clouded by a lively sense of commercial expediency. His efforts to bring art values to the plane of a Rotarian luncheon are~a particularly re- pellent form of petty opportunism and should be so understood and explained whenever one has the misfortune to slip on them.”

And then the concluding paragraph, aimed at the Benton-Burchfield-Curry- Wood School of “the American scene”: “The slight burp which this school of the U. S. scene in art has made, may not indicate the stomach ulcer of Fascism. I am not a political doctor, but I have heard the burp and as a fellow artist -1 would advise those concerned to submit themselves to a qualified diagnostician, other than witch doctor Craven, just t be on: the safe side.” ,

All of this ought to help immensely. Maybe within our generation one solitary artist will pull something out of the core of America. Maybe two, or three, or

“I find Devoe Artists’ Oil Colors give the best results. And I know that they “hold up” beautifully, because both my father and grandfather used Devoe colors exclusively. Paintings they did many decades ago are, today, as brilliant as ever—free from any

signs of fading or cracking.” ee e@

The painting illustrated here is one of Mr. Howe's colorful oils, exhibited recently in Washington, D. C

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The Art Digest, Ist March, 1935 21

four, or five will. If this happens, it will be a big event in art history.

Dress Designs Are Art

After having gone through three tri- bunals, the notable case of Vionnet and Chanel, Paris dressmakers, against Mme. Susanne Laniel, another modiste, who copied their designs, has come to its end in the French Supreme Court, which has decided that style creations of dressmak- ars are works of art and that to copy them is equivalent to theft. Mme. Laniel, according to the New York Times, was ordered to pay 460,000 francs damages.

The court decided that dress models, by reason of the choice of colors and materials and their designing “partake the character of real works of art and, therefore, come under the special legis- lation which forbids imitation and plagiar- ism by artists and writers.”

France is zealous in the propagandizing and protection of her artists and design- ers, recognizing that they create a vast amount of national wealth by the simple process of putting beauty into raw ma- terial, whether that material be pigment, fabric or bronze. She provides a fine example for America.

Of course, France should need no pro- tection against the copying of her de- signs in the United States. This country has plenty of creative artists of her own, who are capable of draping American women beautifully and, what is of equal importance, appropriately. When the

American woman becomes alert to this fact, there will be no market here for Paris designs.

FA ewe

ARTISTS’ MATERIALS

Devoe also makes a complete line of artists’ oil coler brushes

22 The Art Digest, 1st March, 1935

Among The Print Makers, Old and Modern

Critics Are Won by Olin Dows’ Landscapes

“The Steps.” A woodcut by Olin Dows.

Last year Olin Dows made his New York debut at the Ferargil Galleries. His press clip- pings were not numerous, but the critics did not ignore him. Always anxious to watch a versatile young painter rapidly developing, they met his present exhibition at the same galleries (until March 2) with appreciatory reviews. Included in his display of paintings, prints and screens, are some Vermont landscapes, which he painted last summer while he visited that state with Edward Bruce, well-known Amer- ican painter. Working almost side by side, Dows and Bruce, who recently exhibited at the Milch Galleries, have given the Richard- sons’ red barns popular interest.

Dows and Bruce are associates in the Painting and Sculpture Section of the Procure- ment Division of the Treasury Department, the former being co-director with Edward Rowan, and the latter being consulting expert.

“Already endowed with an excellent sense

of design, as was manifest in his previous ex- hibition, and possessing a decidedly decorative sense, the artist in his pictures now displayed reveals no mean painting ability and a de- cided flair for landscape work,” wrote Howard Devree in the New York Times. “Dows’ col- or, too, has improved and become more fluent, while the design has become less tight and the whole treatment freer, with excellent: re- sults . . . In his screens he has kept his de- lightful sense of rhythm and _ silhouetted strength which were notable in earlier work. Very promising progress in this artist’s work, which is always mature and clearly thought out.”

Margaret Breuning of the New York Post spoke of Dows’ “unusual perception of the possibilities of decorative pattern.” “The re- liance on sharp, simplified arabesque of pat- tern in other mediums would not have led one to expect the suavity and fluency of Mr.

Bacher Print Gift

The Congressional Library in Washington is exhibiting a collection of etchings by Otto Henry Bacher which have been presented to ‘the library by Mrs. Bacher. The artist, who died in 1909, received most of his artistic training in Europe, studying chiefly with Du- veneck and Whistler.

Bacher’s early etchings were of picturesque German towns. There is also a Danube series. Later, while studying with Whistler in Venice he executed several Italian scenes. His ex- periences are recorded in a volume entitled “With Whistler in Venice,” published by the Century Company in 1908. While best known as an etcher, Bacher made a great many il- lustrations for Century Magazine.

Termed by the London Times formidable rival of Whistler,” Bacher’s style reflected his own reactions. Seymour Haden, the British etcher, who was Whistler’s brother- in-law, says of Bacher’s Venetian series: “The whole of it, accessories and all, evidences a strong artistic feeling. Bold and painter-like treatment characterizes it throughout.”

Smith to Teach Wood Block

Charles W. Smith is conducting a workshop in wood and linoleum cutting at the New School for Social Research, New York, an extension of the art curriculum. Emphasis will be laid on practical phases of the craft with instruc- tion to meet individual needs. Book illustra- tion and the design of jackets are special con- siderations of the course.

Many exhibitions of the graphic expression of Smith have been held, and he is placed among the foremost exponents of the woodcut. He is the author of “Old Charleston” and “Old Virginia,” collections of prints illustrating those regions, and has been represented several times in “Fifty Prints of the Year.” For several seasons he has taught in the summer session of the University of Virginia and in the College of William and Mary. The New School is displaying examples of Smith’s graphic work.

“a most

Los Angeles Buys Prints

From its recent exhibition of prints by liv- ing Americans the Los Angeles Art Association made the following purchases: “Sou Lamit” by Boris Anisfeld, “Going West” by Thomas Benton, “Dolce et Decorum Est” by George Biddle, “Mexican Interior” by Howard Cook, and “Bather” by Emil Ganso.

Dows’ canvases. These paintings, mostly of the Vermont countryside, have a nice balance between fidelity of objective record and the summing up of the artist’s own reactions to each subject. So many New England themes take on a somber cast that it is gratifying to feel the painter’s delight in the rush beauty of these rolling hills and green valleys, with their little clusters of barns or houses taking solid root in an appreciable interdependence of man and nature.”

The artist’s studies of New England “have character, even when he attacks the simplest theme,” Royal Cortissoz said in the New York Herald Tribune. “He knows, too,” con- tinued Mr.:Cortissoz, “how to deal with moun- tain forms, expressing their majestic note yet keeping them within the intimate gamut that belongs to the Vermont scene.”

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Books on Art

A Meaty Book

All “protein” is H. R. Wackrill’s “A Note on Modern Painting,” (New York, Oxford Uni- versity Press, $1.50). Within 46 pages he states the rationale of post-impressionism and the objective of so-called modern art, a lucid presentation for the inquiring layman.

Impressionism’s fallacy, according to this volume, was that it was totally concerned with physical appearances. however felicitiously they might be expressed. But art has always meant more—a universal truth couched in terms of created unity, or merely a formal organiza- tion which is its own justification. Duplicatior in medium of a natural appearance has been the crutch by which many an artist of the past has climbed the summit of artistic fame. The perfecting of the camera and the cinema, how- ever, has minimized the importance of this human achievement, relinquishing the field of art for more purely aesthetic considerations.

Within a remarkably short period of time, says Mr. Wackrill, art made an about face from the “transcription of the external world” to “the poetry of form,” accomplished through the medium of a single individual, Cézanne. “No doubt Cézanne’s most personal contribution to the evolution of painting,” Wackrill believes, “was the reconciliation that he effected between classical design and the brilliant patchwork of impressionist coloring by making the color (im- pressionist) reveal the form (traditional); his discovery or at least his exploitation of the idea of showing the volumes of things by the modification of their self-tints by the atmos- pheric color.”

Cézanne did not try, for example, to make “a reproduction of any original tree, of an actual assembly of branches and foliage, but a series of structures, symbolizing an imagined tree, ideally arranged to fill a given space.” Thus his use of “representation merely as a means to design” paved the way for the ab- stractionists, who were more concerned with organization than coincident resemblances, and who “in Cézanne’s formalized constructions, and even more in those of Gauguin and Van Gogh . . . found a new aesthetic sphere. . . .

“Accustomed, as they were, to think of art as a stimulus to the non-formal emotions of life, as a reminiscence or extension of every- day existence, people were at a loss when con- fronted by things which contained no apparent reference to the visible world. . . . Now that the work of art relied entirely on its own organization they were obliged to fall back on their sense of design in order to apprehend it at all; a faculty that had grown weak through long disuse and was anyway much less developed than their curiosity of form’s

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The Art Digest, Ist March, 1935 23

Gem-Like Art of Dearth Is Shown Again

“The Beach at Boulogne,’ by Henry Golden Dearth.

A collection of 14 canvases by Henry Golden Dearth, whose position as one of the most distinguished figures in American art is firmly upheld by his poetical conceptions of nature in twilight and moonlight moods, will be ex- hibited at the New York galleries of Frans Buffa and Sons, from March 4 to 30. Dearth may be grouped with such painters as Ryder, Blakelock, Ranger, Murphy and Bogert in that he, like they, felt it more important to have an effective picture than a mere literal transcript of mnature.- Characteristic of this artist is the decorative landscape, low in key, rich in color and with the paint solidly laid on. Since his death in 1918, the artist’s reputa- tion as a fine draughtsman and a colorist of the highest order has mounted.

Dearth’s art may be divided roughly into two periods. The earlier begins with his return to America after his Paris student days, about 1890. Spending most of his time in France, he naturally took much of his subject mat- ter from that country, particularly that pic-

meaning.” ‘Thus the layman was obliged to revitalize his innate sense of form and to at- tune himself to “inner symbols.”

Unity became the criterion under which the artist must construct his organization. A more perfect unity could be elicited from created forms than from the adventitious aspects of nature. Hence there arose the orchestration of pure form known as abstraction. Cubism had pointed out the “essential geometric solid- ity of objects” but even the vestiges of veri- similitude veiled the goal of pure form. De- sign was, then, restored to the throne of art.

If few could follow the high principles in- herent in Cézanne, Wackrill points out the “immense difficulty of pure abstraction” as well- as‘:the~ lag~in~its~ public*-acceptance.

In chronicling the period from impressionism to surrealism, the author has made a signifi- cant contribution. His interpretation will be a revelation to readers who have looked in vain for a concise, unimpassioned presentation of the modern movement. Glenn Wessels in the Argonaut commends “Mr. Wackrill’s lim- pid, unaffected prose and the easy rhythmic flow of his ideas. This book,” he says, “should be tacked on the end of the academic his- tories of art to bring them up to date.”

turesque region around Boulogne and Mon- treuil-Sur-Mer, where he had his summer home.

The second period begins about 1912, when Dearth revolutionized his palette and his tech- nique and ‘started painting brilliant essays in broken color. His work of . this -epoch in- cludes figures, both’ portrait and genre sub- jects, but most numerous are his decorative depictions of the exquisite pools to be found in Brittany. These rock-enclosed pools, cool and‘ limpid, Dearth: reproduced down to their bottom . sands, without worrying over the chances that the canvas might not at first tell the eye what was seen above and what below.

In both ‘periods, however, one is ever con- scious of the long accumulated observation of mature that made it possible for Dearth to experiment as boldly as he wished and not lose his integral decorative and aesthetic appeal.

The first thoroughgoing objective study of Renoir ever made

THE ART OF RENOIR

By Albert C. Barnes and Violette De Mazia

Begun in 1912 and continued uninter- ruptedly ever since, this exhaustive study is based directly upon the 175 paintings in the Barnes Foundation collection ‘as' well as all‘the important Renoirs in galleries throughout the world. Every phase of the artist's career is analyzed. With a foreword by Joun Dewey.

A Minton, Balch Book - - - - - $5.00 With 158 halftone reproductions

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24 The Art Digest, Ist March, 1935

The Boston No-Jury

The Boston Society of Independent Artists, Inc., who, in the words of Katharine Hughes of the Boston Herald, formerly “climbed Bea- con Hill and down the other side in quest of excitement and incomprehensible paintings,” returned, in their 1935 exhibition, to normalcy. William Germaine Dooley wrote in the Boston Transcript: “The surreptitious bravado and courage of the first few exhibitions have van- ished with the smoke of battle, and for the past few years the Independents’ show has gradually dropped off its faint echoings of bizarre influence and settled down more or less to matter of fact painting, which may be advanced for this censorious city, but which is indeed normal for the country as a whole.”

This 8th non-jury exhibition represented more than 125 artists by 325 entries. “If among the jewels there appears some paste, the jewels still gleam pretty brightly,” Miss Hughes wrote: “French landscapes by Sam Charles remind us of the pleasure to be de- rived from one who paints with sincere origin- ality.

“As in so many shows of the current season the work in black and white is outstandingly good. Among the prints in color, and the lithographs, etchings, engravings, etc., are rep- resentative works of some of the country’s ablest exponents of these professions.

“Notable is André Smith’s able draughtsman- ship and design appearing in his satirical line engravings called ‘Consider the Lilies’ and ‘Reapers’ Rest.’ Earnest W. Watson offers exceptionally fine color block prints; Gordon Grant, his etchings of fishing folk; Thomas Handforth, with others of his prints sends a masterly lithograph of Cambodian dancers; and Francis H. Gearhart, her vitas of California mountains, cut intricately in wood and printed in brilliant color.”

Mr. Dooley said that the Independents might boast “at least a good dozen painters who are well-known in their fields, such as Charles Hopkinson, Karl Zerbe, John Whorf, Thomas Handforth, Charles Hovey Pepper, Waldo Pierce, Gertrude Tonsberg, Earnest Watson, and the two museum instructors, Umberto Romano and Harold Rotenberg . . . not all of whom are represented by first-class efforts.

“Other notes of interest are to be seen in the excellent portrait of ‘Ramon’ by Mary James, the water color ‘Nosing In’ by Eleanor Hayes, . . . Joseph Butera’s portrait; the pair of patterned landscapes by Isolde Therese Gil- bert; the lively and original selection of sub- ject cleverly handled by Allan Rohan Crite in ‘Thus Saith the Lord’.”

A Review of the Field in Art Education |

EVELYN MARIE STUART SAYS:

Nothing is sadder than the lack of interest on the part of a collector’s heirs in his life efforts. It is strange that, as a rule, no one in a man’s family cares as fondly for the things he has spent his life in collecting as did he. This might be expecting too much, but surely it could be supposed that one of his own blood would at least cherish his treasures as they deserve. More often, however, the family is cold to “that old stuff” or those “monstrosities” father or Uncle John used to think so much of. Auction rooms sometimes seem like a second funeral, the bereaved treasures assembled in all their forgotten glory, so rich, so lovely, so tenderly reminiscent of a past devotion, like women who have been much be- loved, seeming to have acquired a pecu- liar grace from that alone. The thing of beauty is an eternal coquette, outliving many lovers.

And what of the poor clay that once was the vessel of ardor for this loveli- ness? Is he, too, forgotten? Nay, not so. For one shall proudly say, “This came out of the Smith Collection,” and so he lives on, honored by those who under- stand. Indeed, these are his true heirs, the brothers and sisters of his soul, his spir- itual kindred. They shall sit in his ducal chairs and think of him, gaze upon his Rembrandt and reverence him, and vague- ly look forward to meeting him in what- ever hereafter there may be.

Laufman Will Teach

Sidney Laufman, prominent American artist and a prize winner at the 1934 Carnegie In- ternational, will conduct morning and eve- ning classes in painting and drawing classes during the Spring term at the Master Institute of Roerich Museum, beginning in February. Particular emphasis will be on the technique and resources of oil painting.

Mr. Laufman’s background includes 13 years in Europe; one man exhibitions in the lead- ing galleries of New York, Chicago and Paris; and in 1932 the winning of the Logan $1,000 prize at the Art Institute of Chicago.

In addition to the Laufman classes, the Master Institute is offering special courses in sculpture by Louis Slobodkin, dynamic sym- metry under Theodore Bolton and Talbot Rogers, stage and costume design under Hans von Schroetter, and mural and fresco paint- ing under B. Margolis.

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In Wood

“Head,” by Fletcher Clark.

Fletcher Clark, widely known for his wood sculpture in which the beauty of grain is utilized to the highest degree in bringing out the tonal effect sought, is holding an exhibi- tion at the Florence Cane School of Art, New York.

Born in Kansas, Clark began his study of art at the Beaux Arts Institute of Design six years ago. In the field of wood-carving, how- ever, he is entirely self-taught. Although he has shown his work in one-man exhibitions, Clark has been represented in many group shows both in New York and California. His first exhibition was held in 1931 in the Cali- fornia Palace of the Legion of Honor, On several occasions his work has been included in the circuit exhibitions of the College Art Association, always receiving favorable re- views from the critics.

The Tradition of Illustration

The Art Students’ League of New York is holding an exhibition of illustrations and paint- ings, until March 9, which is intended to show that the quality of illustration is carried into the paintings of many prominent artists who started their careers as illustrators. It is felt that the following men, whose work is shown, have continued to tell stories in their paintings: Cecil Bell, John Steuart Curry, William Glack- ens, Reginald Marsh, Jerome Myers, Philip Reisman, John Sloan, Harry Wickey and Denys Wortman.

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The Art Digest, Ist March, 1935 25

A Review of the Field in Art Education

Carnegie Resume

[Continued from page 9}

women’s clubs languished over Dewing- painted women playing mystic musical instru- ments in outdoor twilights. Nothing broke the continuity of artistic enthusiasm. As the plaster facades of the Columbian Exposition crumbled from their lath and wire backing, the Congressional Library arose behind the Washington Capitol, giving work to such men as Reid, Vedder and Maynard . . . Augustus Saint-Gaudens, over coffee and nuts, raved about the Divine Sarah’s tragic end in Fédora, while Augusta Saint-Gaudens said that the gaslights gave her a headache.

“In 1896 Pittsburgh opened its first Inter- national. Dignitaries in top hats were pres- ent. John W. Beatty set forth on the task of organization which he carried forward so successfully for twenty-six years. A genuine effort to organize contemporary painting from many lands took its bow. Lavery of England, Raffaelli of France, and Beaux of our own country garnered the first group of prizes. Painting shuffled a bit in sophomoric self-con- sciousness. The Jury of Award carried such names as Duveneck and Swan, and gave honors to such men as Shannon and Weir...

MacMonnies’ “Bacchante,” being scarcely a lady, withdrew from Athenian purlieus to the stairway of Gotham’s Metropolitan Museum Apparently only Uncle Louis Saint-Gaudens’ lions were pure . . . Pictorially, however, pas- sions remained orthodox. Abbey stepped from the bindings of Harper’s Magazine to glorify the Holy Grail. Sargent turned from his technical trapeze work with dashing ladies to a sincere reverence of prophets, whose photo- graphic reproductions later were to adorn the study walls of Halworthy. Puvis de Chavan- nes, by his French aestheticism, outdistanced his American contemporaries. Every one of these men is represented in the Carnegie Insti- tute’s permanent collection.

Under Director Beatty such painters as Lavery, Lockwood, and Thaulow were giving prizes to Tryon, Hassam, and Roche. But though by now the home of artistic America should have returned to the United States, yet the center of American artistic activity dallied east of the Atlantic. I learned that Paris still provided the measuring rod which tested the efforts produced within the sound of the steam engines that rode the Sixth Avenue Elevated.

Rain and adventure dripped on those French winter days. I do not mean the vie-de-Bohéme type of adventure that permitted one-hundred- and-eighty pound vociferous Mimis to waste away in any of the studios I visited following the workaday occasions of my parents .. .

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Mostly I recollect Parisian meals marked by John W. Alexander’s whiskers and the beauty of his wife. I heard tales of Dauchez, and Ménard, and Cottet, all of whom may be found in Simon’s prize-winning painting of 1905.

Meanwhile we listened to Whistler, whose “Sarasate,” now in our permanent collection, appeared in the 1896 International . . . Yet Whistler proved but a minor interest in the stream of life. The main tide was social. French priests at my Auteuil school passed on to us youngsters their thoughts of dirty Americans who picked on the Spaniards .. .

The poster craze swept our own land. Young ladies’ schools worshipped Howard Chandler Christy. Richard Harding Davis was being photographed with his medals, baggage, and pith helmets. Young bloods enjoyed wind- swept ankles at the foot of the Flatiron Build- ing. In Oyster Bay Teddy Roosevelt received me and other bi-partisan Harvard graduates. Frank Benson and: Cecilia Beaux won prizes.

Wherefore, though Kipling might write of imperialistic adventures beyond the horizon, yet Ben Foster could drip “Misty Moonlight” on night scenes, one of which later won a prize. André Dauchez, with that other prize, his “Kelp Gatherers,” could arouse a grateful phil- osophy of peace within tight-laced ladies who descended from hansom cabs to visit Knoed- ler’s sober art galleries . . . ‘

Sentimental glory ushered in the new cen- tury. Tarbell won all the prizes in almost unbroken succession. In his Munich palace Lenbach strutted about his peacock-bedecked throne. On the rue Bonaparte students bowed before the pontificial fingers of the “cher maitre, ” Besnard. In Tite Street the Ameri- can, Edwin Austin Abbey, painted the London coronation picture and sold the Carnegie In- stitute “The Penance of Eleanor.” Whistler sent to Munich his “sentiments of tempered and respectable joy” in appreciation of the second-hand compliment paid him by their second-class medal. Theodore Roosevelt took Up art...

Zorn and Monet, Mancini and Zuloaga swung their masterful brushes. Though his painting remains in our galleries, Orpen’s original title, “Me and Venus,” shocked. Two naughty boys, who played in what staid society regarded as artistic garbage heaps, called one another Gau- guin and Van Gogh, and marked their day for future reference .. .

Mostly the war connected me with Abbott Thayer, that extraordinary aesthetic artist who had indulged in far too many discussions with Theodore Roosevelt concerning nature faking and with Olivia Rodham concerning the num- ber of spots on a wood-robin’s tail. This was bad for Thayer’s “Angel on the Rock” Memo- rial to Stevenson. Boston wanted to know how such a material young lady could dare to be angel-fed. Since then I have been suspicious of titles of paintings. Peter Blume would have missed a fine stir if his dealer had labeled “South of Scranton” just plain “Com- position.” Whistler lost no end of welcomed advertising when he named a work “Symphony in White No. 1.”

In Europe the War emphasized the fact that Englishmen like Talmage had failed to load the passing order into one of Victoria’s landaus and roll it into the Albert Museum. Derain and his French followers established the most sober and considered order of the day. Over here the War freed the past inhibitions of Ufer and wove future foundations for Poor . . . Next,

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Address the Secretary CROSS ART SCHOOL, Boothbay Harbor, Maine

Eastport Summer School of Art

EASTPORT - MAINE JUNE 17th to AUGUST 25th

PAINTING IN OIL & WATER COLOR

George Pearse Ennis, Instructor CLASSES IN ETCHING & LITHOGRAPHY Robert C. Craig, Instructor For Catalog A., Address:

GLADYS ATWOOD ENNIS, 681-5th Ave., N.Y.

Woodstock School of Painting )

Instructors CONRAD CRAMER HENRY MATTSON YASUO KUNIYOSHI CHAS. ROSEN JUDSON SMITH Salary Increment Credits. For Catalog Write: JUDSON SMITH, Director, Woodstock, N. Y.

Metropolitan Art School

Incorporated by permission of the Regents of University of the State of New York

MICHEL JACOBS, Director Dept. A., 58 West 57th Street, New York

The

Art Digest, 1st March, 1935

WINOLD REISS ART SCHOOL

COURSES IN DRAWING PAINT- ING, DECORATIVE DESIGNING, MURAL PAINTING, SCULPTURE 108 WEST 16th STREET, NEW YORK Summer School GLACIER NATIONAL PARK

MONTANA FOR BOOKLET

Art School

PAINTING AND DRAWING Comprehensive Study of Pure Art Small Groups — Individual Attention for same fee as average school Morning, Afternoon, Evening Free Monday Discussion Forum, 8:30 P. M Annot Art School, RKO Bidg., New York COl 5-2135

New York Ceramic Studios

MAUD M. MASON, Director Day and Evening Classes.

THE PRINCIPLES OF DESIGN @ BUILDING AND DECO- RATING OF POTTERY FORMS m CERAMIC SCULPTURE

eo Ke KATCHAMAKOFF SCHOOL OF ART FOR SELF-EXPRESSION DRAWING ® SCULPTURE © PAINTING 749 so. ALVARADO @ LOS ANGELES

MINNEAPOLIS INSTITUTE of ARTS

200 East Twenty-fifth Street MINNEAPOLIS + MINNESOTA

NEW YORK SCHOOL OF APPLIED DESIGN FOR WOMEN

160 Lexington Ave., N. Y. City, 43rd Year

Textile Designing, Interior Decoration, Architecture, Fashion Mlustration, Life Class, Decorative Design, Poster, Lettering Positions and orders filied.

CHOUINARD SCHOOL OF ART

ADDS TO ITS REGULAR FACULTY

ARCHIPENKO...SCULPUTURE . PAINTING JOSEPH SINEL ... INDUSTRIAL DESIGN PAUL T. FRANKL ... MODERN INTERIOR

STUDENTS MAY ENTER ANYTIME 741 8. GRANDVIEW ST., LOS ANGELES

THE ST. LOUIS SCHOOL OF FINE ARTS Washington University Drawing, Painting, Sculpture, Commercial Design. History of Art, Composition, Perspective, Costume, Leather, Metal, Pottery,

China and other arts. For catalogue write Room 110, Washington University, St. Louis, Mo.

New Orleans (Art School

THE ARTS” AND "CRAFTS CLUB OF NEW ORLEANS

COURSES IN THE FINE & APPLIED ARTS Catalogues on Request 712 Royal Street New Orleans, La.

Speicher and Bellows started feeling their oats. Indeed by 1923, when Davies, Speicher and Bonnard won prizes and I still possessed a pris- tine innocence, Speicher and Bellows insisted that ‘the oats be home-grown.

Since then I have developed doubts about the nativity of those oats; for an officer of. the Imperial Japanese Navy gave me a pitiful shock when he regretted that he could not tell European art from American art. Really, though, Bellows and Speicher did count in that their vitality turned minds from accept- ing art and manufacturing iron to accepting iron and manufacturing art.

From the time I ventured eastward across the Atlantic in behalf of my initial International to return with Simons and Knight, who were to help award prizes to Bellows and Menard, down to my last hectic autumn when Beal and Barr and Cary poured a tempest into a teapot through the funnel made by Blume and Dali to raise a wind that tossed a sea of popularity onto the shores of Waugh, I have learned a lesson...

As a bolt from the blue or from the Public Works of Art Project, flashed “America for Americans.” No one had really gainsaid the self-sophistication of Paris. John and Carena were positively admired. Indeed even Picasso still sometimes received a complimentary shrug. But at the shrine of Davies and the threshold

it of Curry stood cocktail-fed worshipers who at

the same moment committed the error of de- claring that Garber had as little to do with presenting shabby shoppers on Sixth Avenue or sophisticated nursemaids with babies and pups along Central Park as the tab on the front of great-grandpapa’s shirts.

The dollar went off the gold standard. Then indeed did artists come scuttling home. Sixteen Americans from Paris contributed to the first International with which I had anything to do. One American only, Frieseke, I acquired over there on my last trip. Le Sidaner, Paul Nash, Oppo, Speicher, Davey and Lie gave prizes to Watkins, Sironi and Dufy. “Suicide in Cos- tume” proved its name.

Naturally the awards of our resumé of con- temporary painting have caused the forgotten man in the street to look cross-eyed . . . Na- turally I am content, since more than ever the public packs into the galleries and lecture halls, buys catalogues, and bargains for introverted landscapes, until I do believe a few of Uncle Sam’s offspring are becoming eye-conscious . . .

When gas-lit elevators were maneuvered by ropes we worshipped Leutze. But with other days have come other interests. Adulation of social and political position has given place to democratic admiration. Photographs have improved on the likenesses of grand-mama. Jonas Lie lives in the Sherwood Studios where my mother first stuck pins in my didies. Rock- well Kent occupied Dewing’s studio on Wash- ington Square South. Now Rockwell Kent burns whale fat in an igloo. Of course the painter has fumbled like banker and business man. Certainly adolescent empirical artistic efforts have been a bit bumpy.

Sentimental satisfaction with the past only makes for a disregarded artistic world. Presi- dents’ sons drive past traffic lights. So we should not blame painters who do the same.

Painter, banker, and business man are pro- gressing. Let us not drift like algae with the outgoing tide nor like jellyfish with the incom- ing waters. In the last analysis good or bad art is our fault, and so our concern. Therefore, if we live long enough we will see a future come from a youthful self-analysis that we will not trade for senility in art any more than in steel mills. It depends on the artist’s and public’s

knowing what they want and getting together.

PENNSYLVANIA ACADEMY OF THE FINE ARTS

Philadelphia (Winter), Chester Springs, Pa. (Summer) Oxpgst fine arts schools in America. (Est. 1806.) City and Country locations; unex- celled equipment for the complete profes- sional training of the artist. Distinguished faculty. Preliminary classes for beginners.

~ Special evening classes. Departments of Painting, Sculpture, Illustration, Maral Paint- ing; also a co-ordinated course with the Uni- versity of Pennsylvania, B.F.A. degree. Euro pean Scholarships and other prizes.

Philadelphia School—Broad and Cherry Streets. Eleanor N. Fraser, Curator.

Chester Springs Summer School—Resident students only. J. T. Fraser, Jr., Curator. WRITE FOR BOOKLET OF SCHOOL WHICH INTERESTS YOU

A TT se LLL A C.

Lk OREN TT Fg Ae eae I HEHE A

NEW YORK SCHOOL OF FINE AND APPLIED ART (Parsons)

WILLIAM M. ODOM, President

= 8 SIX WEEKS SUMMER SESSION Specially planned weekly units of study August 16 in departments of House Planning & Decoration, Costume Design, Graphic Ad- Send vertising, Teacher Training, etc. Also For Life Drawing, Special Lecture Course, etc.

Catalog Address Box A, Broadway, New York

Pratt Institute School of Fine and Applied Arts

Brooklyn, New York

Pictorial Illustration, Advertising Design, Fashion I1- lustration, Interior Decoration, Industrial Design, Teacher Training, Architectural Construction, Architecture. 38 Studios. 91 Instructors. 48th Year. Catalogue on Request. 215 RYERSON STREET. JAMES C. BOUDREAU, Director

OTIS ART INSTITUTE

A SCHOOL OF FINE AND APPLIED ARTS MAINTAINED BY THE COUNTY OF LOS ANGELES AS A DEPARTMENT OF THE LOS ANGELES MUSEUM 2401 Wilshire Boulevard, Los Angeles, California Thirty-eight classes beginning and advanced. Work outdoors or indoors 12 months in the year. Date of entrance and period of study optional. A genuine Art Spirit pervades this art school. Illustrated catalog upon request.

SPRING

courses START APRIL Ist DRAWING - PAINTING « DESIGN + INDUSTRIAL AND STAGE ARTS « DRESS ARTS - INTERIOR DECORATION -CARTOONING-SCHOOL-ART METHODS

COMMERCIAL ART - LEDSTRATION TIMELY INSTRUCTION AND GUID.

“CHICAGO ACADEMY ‘OF FINE ARTS

CARL WERNTZ, Presipent 18 SOUTH MICHIGAN AVENUE

Guild School of Art

CLASSES IN SCULPTURE HEINZ WARNEKE

INSTRUCTOR. Sketch Classes

59 East 59th Street, New York PLaza 3-3849

NAUM M. LOS SCHOOL OF ART

SCULPTURE — DRAWING — PAINTING MEDALLIC ART — CONSTRUCTIVE ANATOMY

MODELLING OF ANIMALS Individual instruction day and evening. Catalog on request. | 22 East 60th Street, New York City

Art Academy of Cincinnati

Moderate tuition fees. Day and night classes. Professional

fineand applied arts. Winter and summer sessions. For information address

WALTER H. SIPLE, Director Art Academy Cincinnati, Ohio

wee Or

RR i YT LL TT Ty ee LTS

MOORE INSTITUTE OF ART, SCIENCE & INDUSTRY

90th Year

Distinguished Faculty, Practical Courses in all branches of Fine and Applied Art Accredited Teacher Training Course Bachelor of Fine Arts Degree European and other Prize Fellowships Residence Houses for out-of-town

students Broad & Master Sts. Philadelphia

TRAPHAGEN SCHOOL OF FASHION 1680 Broadway (near 52d St.) New York Internationally Celebrated Graduates Intensive Winter and Summer Courses All phases of Fashion Illustration and Design. Other classes in Interior Decoration, Stage and Textile Design, Draping and Construction. School in- corporated under Regents. Teachers’ Alertness Credits, B of E., given. Send for Circular D, or Phone COl. 5-2077.

INVESTIGATE BEFORE REGISTERING ELSEWHERE

California School of Arts and Crafts

Spring Term in Session Degree _ and ~- non-degree courses in Fine and Applied Arts and in Art Education. Distinguished faculty, beau- tiful campus, moderate fees. State accredited.

Write F. H. Meyer, Director,

for Catalog “‘D”

Oakland California

YLAND JNSTITUTE

1825 - BALTIMORE - 1935

Courses in Fine Arts, Teacher Training, Crafts, Advertising and Costume Design, Interior Deco- ration, Stage Craft, etc. Catalogs on request.

WORCESTER ART MUSEUM SCHOOL 24 HIGHLAND ST., WORCESTER, MASS. Three-year courses in Design, Drawing and Painting. Modeling. Metal Work. Jewelry. Pottery. Weaving. Day and Evening Classes. Catalogue sent on request. H. STUART MICHIE, Principal

SCHOOL OF THE BOSTON MUSEUM OF FINE ARTS

DRAWING — PAINTING SCULPTURE — METALWORK APPLIED DESIGN Staff’: A. Iacovleff, Director of Drawing ¢€ Painting; F. Allen, Sculpture; W. Huchthausen, Design; J. Sharrock, Jewelry ¢ Metalwork. 235 Fenway, Boston, Massachusetts

THE BROWNE ART CLASS

The Technique of Oil and Water Color. Classes in Portrait and Figure Painting and in Pictorial Composition INSTRUCTOR

GEORGE ELMER BROWNE, N.A.

write for information 58 WEST 5ith ST.. NEW YORK CITY Credits given for salary increment purposes. Special Classes on Saturdays and Sundays.

Corcoran School of Art WASHINGTON, D. C.

Tuition Free—Annual Emtrance Fee 25.%—Day and Evening Classes in rawing, Painting, Sculpture, Composi- tion. For information and Prospectus, address

MISS AGNES MAYO, Secretary

Women’s Dept.

[Continued from page 30]

tional secretary. The participants in the Con- gress will receive specific advantages. Programs of interest to artists as well as discussions relative to handicrafts, the psychological ex- pression and decorative value of color and how to develop a child’s creative faculty, are among the themes to be presented.

Perhaps the most interesting event in con- nection with the Congress is the International Art Exhibit which will be held there this sum- mer. The best art from every country in the world will be brought together, as well as many treasures from private collections. The Belgian government expects to surpass the In- ternational Exhibitions of both London and Chicago.

a * es

TALKS FOR PHILADELPHIA

Mary Butler, professional artist, one of our early members and president of the Fellow- ship of the Pennsylvania Academy, is doing a fine piece of work in the series of gallery talks which she has arranged :to be given during the Annual Exhibition of the Pennsylvania Academy in its galleries. These comprise a children’s hour ‘with guides for the families of the members of the Academy on Saturdays, and gallery talks on art each week. The program for the balance of the season is:

March 2, 8:30 P. M—Dr. Sigmund Spaeth, “A New Approach to Music and the Related Arts.”

March 16, 8:30 P. M.—Peyton Boswell, Editor of Tue Art Dicest, “An Editor Dodges Brickbats”; Emidio Angelo, Cartoonist for The Evening Ledger, “Caricature of Today.”

March 29 and 30—Jerrie Meyer and Her Concert Dance Group. Sets designed and exe- cuted by Raphael Sabatini.

Miss Butler is at present art chairman of the Philadelphia Federation of Women’s Clubs and Allied Organizations. She had an active part in three art weeks, in 1922, 1923 arid 1925, and she had the entitre responsibility for putting over an American Art Week in 1934, in Camden. Since 1911 she has been taking care of exhibitions of current work in the Philadelphia public schools and community

centers. * * *

THE 1935 ART WEEK

Edward Weinbaum, manager of the Retail Merchants Section of the Chamber of Com- merce of the United States, says that in the opinion of the local merchants the first week in November will be the best time for the 1935 National Art Week, that date being the most satisfactory one for the display of art in windows. He said: “We shall again lend all possible support to the movement in co- operating with your local committees.”

ACADEMY ®* OF ® ALLIED * ARTS

Spring and Summer Courses

Day and evening classes under Hoffman, Joffe, Dunkel, Draisin. Life, Portrait, Still Life,

Theatrical and Costume Design. Register Now—Send for Catalogue B.

349 West 86th St., N.Y¥.C. SChuyler 4-1216

John J. Soble STUDENTS ART CLASS

(2nd season)

Drawing and painting from life and still life Evenings: Mon., Tues., Wed.. 7 to 10 Afternoons: Wed., Sun., 12 to 4

107 West 47th Street, New York City LOngacre 5-9.

. OF OUTSTANDING ARTISTS

COLLEGE OF FINE ARTS

The -Art Digest, Ist March, 1935 27

KANSAS CITY 05

@ Summer School July 10 - July 20 Midwestern Art School Under Tal- ented Instructors. Catalog .. . 4407 Warwick Blvd.

GranpCEnt vo/ART Individual talent developed by successful modern artists.

Drawing, Painting, Sculpture, Illustration, Advertising, General Design, Costume Design, and Interior Decoration.

Day and Evening Classes - Catalogue 7021 Grand Central Terminal, New York City OAT CC GBS ANS

OOL OF ART

RINGLING *“"

All Phases of Art Taught 80UTH AMERICAN WINTER CRUISE FOR ADVANCED STUDENTS. Catalog. SARASOTA,

FLORIDA

SYRACUSE UNIVERSITY

Four-year courses in PAINTING, INTERIOR Dzc- ORATION, Destcn, ARCHITECTURE, ILLUSTRATION aND CoMMERCIAL ArT, PuB. ScHoot Art. Lead. ing to the degree of Bachelor of Fine Arts. -

Harotp L. Butier. ean Svracusz, N Y.

WILMINGTON ACADEMY of ART WILMINGTON, DELAWARE

Spring Semester Now in Session

No Further Announcement Until Our June Exhibition

Full Information on Request to Secretary LUCILE HOWARD, Director

The Art Institute of Chicago = FINE AND INDUSTRIAL ART =

Drawing, Painting, Illustration, Sculpture, Industrial, Advertising, & Interior Design

= COURSES FOR TEACHERS =

Folders illustrating each Department on request. Address Dept. AA. The Art institete of Chicago, Chicage, Ill.

ERIC PAPE CLASSES

Drawing, Painting, Composition, Life, Portrait, Still Day Class—Tuesday & Wednesday morning and afternoon. Evening Class for Profes- sionals—Monday, Tuesday, Wednesday. Address Secretary, Studio 1029, Chelsea Hotel, 222 West 23rd Street, New York City

Cleveland School of Art

Cleveland, Ohio

Four-year Courses in the Fine and Applied Arts

Illustrated Catalog A on Request

Tue Art Dicest presents without bias the art news and comment of the world.

28 The Art Digest, Ist March, 1935

Great Calendar of U. S. and Canadian Exhibitions

MONTGOMERY, ALA.

Montgomery Museum of Fine Arts—March: Work by J. Kelly Fitzpatrick.

LAGUNA BEACH, CAL.

Laguna Beach Art Association—March: Lo- cal artists.

LOS ANGELES, CAL.

Barker .Brothers—March: Work done by Nell Walker Warner. Foundation of Western Art—March: Second Annual California Crafts Salon. Los Angeles Museum— March: Polish prints.

OAKLAND, CAL.

Oakland Art Gallery—March 10-April 10: 1935 annual exhibition of painting and sculpture.

SACRAMENTO, CAL.

Kingsley Art Club—March 6-30: Work by John O’Shea. State Library—March: “Fifty Prints of the Year.”

SANTA BARBARA, CAL.

Faulkner Memorial Art Gallery—To March 21: Paintings by Armin Hansen.

SAN FRANCISCO, CAL.

Art Center To March 9: Work by Frede Bidar. March 11-23: Work by Joseph Sheridan. California Palace of the Legion of Honor—March: Work by Maurice Sterne. Paul Elder’s Modern Gallery—To March 9: California surrealists and neo- classicists. March 11-30: Gouaches by Kurt Roesch. San Francisco Museum of Art—To March 10: Drawings by Old and Modern Masters.

DENVER, COL. Denver Art Museum—March 1-15: Oils by . G. Ellinger, Tabor Utley, Gwendolyn Meux; water colors by Mexican children ic Ao AD, HARTFORD, CONN.

Avery Museum—March 9-31:

Academy.

Connecticut

ATLANTA, GA,

Atlanta Art Association—To March 4: As- sociation of Georgia artists. March 5-25: Needlework pictures by Georgina Brown Harbeson.

SAVANNAH, GA.

Telfair Academy—March 4: tion early Italian paintings.

WILMINGTON, DEL.

Wilmington Academy of Fine Arts—March

5-30: Memorial to Howard Pyle. WASHINGTON, D. C.

Arts Club of Washington—March 3-23:

Water colors and etchings by Chauncey F. Ryder. Art League—To March 14: Paint- ings by Katherine Munroe, Fredrick Fug- lister, Charles Darby and Ita Romagna. Smithsonian Institution—To March 24: Etchings by Yngue Edward Soderberg.

CHICAGO, ILL.

Art Institute—To March 10: 39th annual exhibition by artists of Chicago and vi- cinity. Chicago Galleries Association—To March 16: Work by Frank C. Peyraud, Elizabeth Krysher Peyraud, John T. Nolf and Arnold Turtle. Chicago Woman’s Club —March: Work by members of the Wo- man’s Club.

DECATUR, ILL.

Decatur Institute of Arts—March: Work by

George Raab and his pupils. ROCKFORD, ILL.

Rockford Art Association—March 4-23: Black and white show from Century Gal- lery, Chicago.

INDIANAPOLIS, IND.

#4ehn Herron Art Institute—March: 28th an- nual Indiana artists exhibition. Lieber Galleries—March 1-15: Paintings by Rene Barnes.

LAWRENCE, KANSAS

Thayer Museum—March: Paintings and pot-

tery by Henry Varnum Poor. BATON ROUGE, LA.

Leuisiana State University—To March 31: Illuminated manuscripts of the 1lith to 16th century, loaned by Otto F. Ege.

NEW ORLEANS, LA.

Arts & Crafts Club—March: Drawings by Paul Ninas. Isaac Delgado Museum of Art—March 3-April 3: 34th annual ex- hibition of the Art Association of New Orleans.

Kress _ collec-

BALTIMORE, MD.

Baltimore Museum of Art—March 4-31: Gari Melchers’ Memorial Exhibition; Persian Miniatures. Maryland Institute—To March 12: Mid-western water colors (A. F. A.).

HAGERSTOWN, MD.

Washington County Museum of Fine Arts— March: Washington County photographic exhibition. March 11-April 11: American paintings loaned by Whitney Museum.

PORTLAND, ME.

Portland Society of Art—March: Annual ex-

hibition of oils, pastels and water colors. ANDOVER, MASS.

Addison Gallery of American Art—March 1- 25: Paintings by Dudley Morris. March 5- April 5: Classical art.

BOSTON, MASS.

Doll & Richards—To March 9: Water col-

ors by Stevan Dohanos. Robert C. Vose

Galleries—March 4-16: Work by Marion Boyd Allen. FITCHBURG, MASS.

Fitchburg Art Center—March: Chinese color prints.

NORTHAMPTON, MASS,

Smith College Museum—To March 15: Pho- tographs of American cities by Henry- Russel Hitchcock, Jr.

WELLESLEY, MASS.

Farnsworth Museum—March: Paintings and sculpture by Wellesley Society of Artists.

WILLIAMSTOWN, MASS.

Williams College—To March 6: Renoir’s “Moulin de la Galette’ from Museum of Modern art. March 11-30: “Chinese Paint- ing Through the Ages” (C. A. A.). March 10-19: Gauguin’s “Tahitian Idyl’ from Museum of Modern Art.

WORCESTER, MASS,

Worcester Art Museum—March 3-31: Work by Charles Child; Ceramic sculpture by Waylande Gregory.

DETROIT, MICH.

Detroit Institute of Arts—March: Persian art. Hudson Galleries—March 11-25: California flowers by Nell Walker Warner. Society of Arts & Craftse—March: Con- temporary craft work.

GRAND RAPIDS, MICH.

Art Association—March: Modern Masters in pen, pencil and crayon (C. A. A.) ; work by students of Joseph Binder.

KALAMAZOO, MICH.

Kalamazoo Institute of Arts—March: 5th an-

nual Kalamazoo show.

MUSKEGON, MICH.

Hackley Art Gallery—March: Sculpture and

drawings by Rodin. MINNEAPOLIS, MINN.

Institute of Arts—March: Imperial jades; T’ang potteries; Jacobean furniture. Nash- Conley Galleries—March 2-16: Prints by Adolph Dehn.

KANSAS CITY, MO. ag pare saree “Iowa Speaks” (A. » Made ST. LOUIS, MO.

Artists’ Guild—To March 14: Annual exhibi- tion of paintings and sculpture. City Art Museum—To March 4: Paintings from the Lillie P. Bliss Collection. March 4-April 8: Prints by Albrecht Diirer.

MANCHESTER, N. H.

Currier Gallery—March: Paintings by Amer- ican artists who have died since 1900 (C. A. A.); oils by Emma Fordyce MacRae; Cleveland Printmakers.

EAST ORANGE, N. J.

Orange Camera Club—To March 23: Work

by Clark Bleckensdorfer. MONTCLAIR, N. J.

Montclair Art Museum—March 3-16: Work pd ima of the Montclair Art Asso- ciation.

NEWARK, N. J. Newark Museum—March: The design of sculpture; recent gifts to the costume col- lection.

BUFFALO, N. Y. Albright Art Gallery—March: Second an- nual exhibition by artists of western N. Y. BINGHAMTON, N. Y. Museum of Fine Arts—March: Oils by Wil- liam L. Lathrop, Daniel Garber and John Folinsbee.

BROOKLYN, N. Y.

Brooklyn Museum—March: Lithographs by Joseph Pennell. Grant Studios—March 4- 30: Black and whites by group. Towers Hotel—To March 8: Member's exhibition. March 12-29: Oils by members and non- members.

ELMIRA, N. Y. Arnot Art Gallery—March 2-24: Water col- ors by Colorado artists.

SANTA FE, N. M. Museum of New Mexico—March: Paintings by Ernest Thompson Seton.

NEW YORK, N. Y. Metropolitan Museum of Art (Fifth Ave. at 82nd)—To April 14: Prints chosen for Mt. Vernon by Washington ; Japanese costumes No robes and Buddhist vestments. Amer- ican Academy of Arts & Letters (Broad- way at 155th)—March: Retrospective ex- hibition of Charles Dana Gibson. A. C. A. Gallery (52 West 8th)—March 10-23: Paintings by Samuel Brecher. Arden Gal- lery (460 Park Ave.)—March 12-April 2: Paintings, sculpture, pottery owned by members of| Garden Club of America. Argent Galleries (42 West 57th)—March

4-16: Line drawings in all media. Frans Buffa & Sons (58 West 57th)—March: Memorial exhibition of Henry Golden

Dearth. Carlyle Galleries (250 East 57th) —To March 15: Water color drawings by Albertine R. Wheelan. Leonard Clayton Gallery (108 East 57th)—March: Work by Victor DePauw. Contemporary Arts (41 West 54th)—To March 9: Water colors by Mary Drake Coles. March 11-23: Group

exhibition. Contempora Art Circle (509 Madison Ave.)—March: Work by Paul Klee. Cronyn & Lowndes (113 Rockefeller Plaza)—To March 17: Work by Percy Albee. Decorator’s Club (745 Fifth Ave.) —To March 9: Flower paintings and small sculpture. Delphic Studios (724 Fifth Ave.)—To March 10: Paintings by Peter Helck. To March 11: Paintings by R. Walker. Dikran Kelekian (598 Madison Ave.)—Permanent exhibition of antique works of art. Durand-Ruel (12 East 57th) —March 11-April 2: Masterpieces by Re- noir for benefit of Hope Farm. Downtown Gallery (113 West 13th)—To March 9: Paintings by Nicolai Cikovsky. Eighth Street Gallery (61 West 8th)—To March oe Paintings by Joseph de Martini. Ehrich-Newhouse (578 Madison Ave.)—To March 9: Paintings by Irwin D. Hoffman. Ferargil Galleries (63 East 57th)—To March 4: Work by Olin Dows. March 4- 18: Work by Thomas LaFarge. Fifteen Gallery (37 West 57th)—To March 9: Black and white by members. Fifth Ave- nue Playhouse (66 Fifth Ave.)—March: Paintings by Ladislas de Nagy. French & Co, (210 East 57th)—-Permanent exhibi- tion of antique textiles, furniture, and works of art. Gallery Secession (49 West 12th)—To March 11: Work by Vincent Spagna and group. March 12-April 8: Work by Anna Mantell and group. Grand Central Art Galleries (15 Vanderbilt Ave.) —March 5-16: Etchings by Franklin T. Wood; monotypes by Seth Hoffman. (Fifth Ave. Galleries)—March 11-23: Paintings by Frank Tenny Johnson. Grant Gallery (9 East 57th)—March 4-16: Water colors by James E. Davis. Marie Harriman (63 East 57th)—To March 9: Paintings from the private collection of Leon Massine. Jacob Hirsch (30 West 54th)—Permanent exhibition of antiquities. Humanist So- ciety (113 West 57th)—March 2-16: “Hu- manism in Art.” Kennedy & Co. (785 Fifth Ave.)—March 4-30: Etchings and drawings by John Taylor Arms. Kleeman Galleries (38 East 57th)—To March 15: Decorative paintings by Charlotte Mals- bary. M. Knoedler & Co. (14 East 57th) —To March 16: 10th annual exhibition of XV and XVI century engravings. La Salle Gallery (3105 Broadway)—March 11- 30: Paintings by Niberg Abbey and group show. John Levy Galleries (1 East 57th) —March: Old Masters. Pierre Matisse (Fuller Building)—March: Modern paint- ings and primitive arts. Milch Gal- leries (108 East 57th)—March 4-23: Paint- ings by Stephen Etnier. Montross Gallery (785 Fifth Ave.)—March 4-16: Paintings by Katherine Langhorne Adams. Morton Galleries (130 West 57th)—To March 9: Work by Everett Shinn. Museum of Mod- ern Art (11 West 53rd)—To March 7: George Caleb Bingham; Gaston Lachaise and Henry Hobson Richardson. National Arts Club (119 East 19th)—March: Junior artist members. National Committee on Folk Arts of U. 8. (673 Fifth Ave.)—To March 9: “Pennsylvania Dutch” folk art. Arthur U. Newton Galleries (11 East 57th) —March 4-16: Portraits by Stanislas Rembski. Georgette Passedoit (485 Mad- ison Ave.)—March 4-25: Work by Jane Berlandina. Pen & Brush Club (16 East 10th)—March 2-16: Paintings by Grace Bliss Stewart. Raymond & Raymond (40 East 49th)—March: Reproductions of mas- terpieces. Frank K. M. Rehn Galleries (683 Fifth Ave.)—To March 9: Paintings by Arnold Blanch. March 11-30: Work by Georgina Klitgaard. Roerich Museum (310 Riverside Drive)—March 11-April 4: Artists who participated in Washington Square outdoor exhibitions. Salmagundi Club (47 Fifth Ave.)—March 8-29: An- nual oil exhibition. Schultheis Galleries (142 Fulton St.)—Permanent exhibition of works by American and foreign artists. Jacques Seligmann & Co. (3 East 51st)— March 11-23: Paintings by an American group. KE. & A. Silberman Galleries (32 East 57th)—To March 9: Paintings by Vilmos Aba-Novak and Bela Ivanyi-Grun- wald. Squibb Galleries (745 Fifth Ave.) —To March 7: Old and new satirical paint- ings. Marie Sterner Gallery (9 East 57th) March 4-16: Water colors by Mary Peix- otto. Uptown Gallery (249 West End Ave.)—To March 15: Group exhibition. Valentine Gallery (69 East 57th)—To March 7: Paintings by Raphael Soyer. Vermeer Studios (114 East 66th)—To March 3: Ski paintings by A. Sheldon Pennoyer, group show. Catherine Loril- lard Wolfe Art Club (802 Broadway)— March: Oils. Weyhe Gallery (794 Lexing- ton Ave.)—To March 16: Work by Emil Ganso. Whitney Museum of American Art (10 West 8th)—To March 22: Ab- stract painting in America. Howard Young Galleries (667 Fifth Ave.)—March: Paintings of the 18th century. Wilden-

stein & Co. (19 East 64th)—To March 15: Paintings by Fritz Werner. SARATOGA SPRINGS, N. Y. Skidmore College—March 4- 16: Art of pho- tography (C. A. A.).

SYRACUSE, N. Y. Syracuse Museum of Fine Arts—March: 9th annual exhibition by Associated Artists of

Syracuse. CINCINNATI, 0.

Cincinnati Art Museum—March 3-31: Mex- ican arts from Cincinnati collections. Closson Galleries—March 4-16: Paintings, Julie Morrow DeForest.

COLUMBUS, 0.

Columbus Gallery of Fine Arts—March: Wallpapers and fabrics; mural scheme for Los Angeles Public Library by Dean Corn- well; annual exhibition of prints by So- ciety of American Etchers.

DAYTON, 0O.

Dayton Art Institute—12th century Japanese Fujiwara Budda and oriental collection; sculpture by Hester Bremer.

TOLEDO, 0.

Toledo Museum of Art—March 3-31: Hamil- ton Easter Field collection; International contemporary prints.

PORTLAND, ORE. ;

Portland Art Association—To March 11: Portion of Venice Biennial from Whitney Museum.

PHILADELPHIA, PA.

Pennsylvania Museum—To March 11: “Tran- sition of American Industrial Art.” To March 13: The Post-Impressionists—1890. March: Prints from the Julius Rosenwald Collection. Boyer Galleries—March 5-24: Oils by Southern artists. March 14-30: Drawings of the Russian ballet by Jean Lureat. Gimbel Galleries—To March 13: Work by Tom Jones, Benton Spruance. Modern Galleries—To March 16: “Exhibi- tion of the Rejected” from Pennsylvania Academy show. Plastic Club—March 6- 27: Annual member’s exhibition. Print Club—March 4-23: 9th annual exhibition of American block prints. ,

PITTSBURGH, PA.

Carnegie Institute—To March 7: Associated Artists of Pittsburgh. To March 10: Carnegie prize winners of previous years. To March 24: 13th International water color exhibition.

PROVIDENCE, R. I.

Brown University—To {March 3: Machine art. Rhode Island School of Design— March 6-27: Applied design.

FORT WORTH, TEX.

Fort Worth Museum of Art—To March 21:

Illuminated manuscripts (A. F. A.). HOUSTON, TEX.

Museum of Fine Arts—March 3-24: Amer- ican lithography from Currier & Ives to present. Herzog Galleries—To March 15: 18th century portraits.

SEATTLE, WASH.

Henry Art Gallery—To March 3: Art in In- dustry (C. A. A.). Seattle Art Museum —To March 17: Conservative American painting.

APPLETON, WIS.

Lawrence College—To March 10: Drawings by Kenneth J. Conant. March 10-20: Etchings and lithographs from Daumier to Bellows.

BELOIT, WIS.

Beloit College—March: Water colors by Nils Behncke,.

MADISON, WIS.

University of Wisconsin—To March 7: Sec- ond annual collegiate photographic salon. March 7-April 1: Paintings by Charles

LeClair. MILWAUKEE, WIS. Milwaukee Art Institute—March: “Yester- day and Today” (C. A. A.); paintings by Hortense Ferne, Hilaire Hiler and Carl Halty. Cliche-glace prints by Corot.

The Art Digest, 1st March, 1935 29

Early American Furniture in Auction Sale

Duncan Phyfe Carved Mahogany Side Chair, New York, 1800-10.

The extensive collection of New England and Pennsylvania Colonial and early Federal American furniture, formed by the late Erastus T. Tefft will be dispersed at the American Art Association-Anderson Galleries the after- noons of March 8 and 9, one week later than was previously announced. This collection is rich in fine examples in native woods—maple, pine, birch, walnut, cherry and elm. It will be augmented by property of the estate of

‘ Lucien Sharpe and the estate of Waldo L.

Rich, together with selections from other es- tates and collections, including that of Mrs. Gardiner H. Miller.

A feature of the American furniture is a group of pieces by Duncan Phyfe, one an im- portant carved mahogany love seat made about 1800 and formerly owned by Samuel Chase

of Maryland, signer of the Declaration of In-

dependence. It has decended in the family through his daughter to the present owner. Of the same provenance is a ‘pair of carved mahogany side chairs by Phyfe, one of which is reproduced herewith. Important in the American Sheraton furniture is a set of eight carved mahogany dining chairs of New York workmanship, made about 1790. In the 18th century American Chippendale appears a sturd- ily-proportioned walnut chest-on-chest, an im- portant carved mahogany armchair.

Many pieces are of maple combined with hickory, among them numerous Windsor chairs. Maple and pine pieces include two early Amer- ican cupboards, a drop-leaf table and a rush back settee. Early pine tables in the Tefft col- lection include examples of the stretcher, saw- buck and kneading types. Tefft items also in- clude a New England 18th century paneled pine room, and a unique collection of falconry equipment, including a stuffed and mounted falcon, Flora, said to be the first falcon to be flown in the United States.

Three fine secretary-bookcases come up in the 18th century English pieces, one a Chip- pendale carved and inlaid mahogany example which is one of the few English pieces illus- trated in Lockwood’s “Colonial Furniture in America.” An important Jacobean carved and inlaid court cupboard, one of the early 17th century English group, is a fine original piece of rich dark patina.

Items in early American decorations include a carved shelf clock by Samuel Terry, a ma- hogany tall-case clock by Seth Thomas, pewter and whale-oil lamps. Decorative paintings, mostly genre scenes and landscapes, are largely 19th century works by such artists are Paul Dougherty. Alfred Stevens, William M. Hart, Albert Guillaume. Alfred Charles Weber, Berne- Bellecour and Winslow Homer. Prints, arms and armor, Japanese sword guards, bibelots, pewter, silver and Sheffield plate, porcelains and glass make up the balance of the catalogue which comprises 433 items.

Ceramic Annual Postponed

The fourth annual Robineau Memorial Ceram- ic Exhibition, in memory of Adelaide Alsop Robineau, at the Syracuse Museum of Fine Arts, has been postponed from April until next October. This change was made in order that the officials might take advantage of an offer by the College Art Association to circuit a selected group of pieces from the exhibition during the season of 1935-36. Details may be had from Anna W. Olmsted, director, Syracuse Museum of Fine Arts.

Buyers’? Guide tc THE ART DIGEST’S Advertisers

Addresses Will Be Found in Advertisements, Firms listed here will be glad to send announcements or catalogues to readers on request.

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PROFESSIONAL LEAGUE

WOMEN’S ACTIVITIES

National Director: Florence Topping Green, 104 Franklin Avenue, Long Branch, N. J.

AMERICAN ART AND THE WOMEN OF AMERICA

A WORTH WHILE HOBBY

For seventeen years, Mrs. Alvoni Allen of Jersey City has worked in a practical manner for American art and artists. Each year she spends hundreds of dollars personally to pur- chase prizes for states adopting the Penny Art Fund she originated. Last week she bought four paintings at the 44th annual exhibition of National Association of the Women Painters and Sculptors—“Wind Swept” by Edith Nichols, “Labrador” by Mabel Mason De Bra, “Courtyard of Mermaid Inn” by Jessie Char- mon and “Ranchos Church in New Mexico” by Mary Cheney. At the Jersey City Museum Exhibition she bought a piece of sculpture by Frederick G. R. Roth, N. A., “Frisky Whis- key,” a little Scotch terrier. Another prize is a large oil painting, “Windswept Dunes” by Mrs. Gertrude C. Lewis, Illinois. She also bought an oil, “Flowers and Still Life” from Mrs. Myra Wiggins, Seattle, and “Boats” by

| Mrs. Eliza Wahanik, also of Seattle. She will give $25 to the state making the greatest increase over last year in number of clubs adopting the fund, and two additional paint- ings. These will be presented in June, during the Triennial Convention of the General Fed- eration of Women’s Clubs, in Detroit, to the states sending in the best report for work ex- tending the Penny Art Fund.

Mrs. Allen bought, this month, from Al- camedos Gio Comantonio, a young Jersey City sculptor, “Russian Eyes,” a lovely head of a young Russian girl, and also bronze, “Flower of the Mediterranean,” presenting both to the Jersey City Museum. Three years ago she gave a gallery full of paintings and other works of art to the trustees of the Mu- seum Association there.

This is the way the Penny Art Fund started. When Mrs. Allen was chairman of art in the New Jersey Federation more than seventeen years ago, there was little interest in art, only 14 clubs in the state having then any art program at all. She arranged a series of art receptions in prominent galleries for the club- women at which artists received. They were well attended. Best of all, paintings were sold for homes and club houses. In order to stim- ulate interest, she bought paintings at the Na- tional Academy, the New York Water Color Club and the Montclair Museum exhibitions to give as prizes to the clubs that had the

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largest attendance in the year. The first painting she bought was by Jane Peterson which was won by a little, unknown club in Long Branch, N. J. After her term expired she was afraid that her successor would not be able to keep up this custom, so she hit upon the plan of asking every club to send to the state art chairman one penny a year from each member. Since many clubs have a thousand or more members, the sums were sufficient to carry on this work. Four years ago she was appointed General Federation chairman of the Penny Art Fund and, instead of working in one state, she now has forty-four, with innumerable clubs.

This is the way it works. Each state art chairman collects her own state pennies. At the close of the year, she buys paintings and sculpture from her own state artists to present to clubs in the state as prizes for work in promotion of American art. Then all of the reports are studied and the paintings and sculpture purchased by Mrs. Allen are awarded to the states doing the best work.

There are three million federated women. As soon as a penny each a year shall be collected (and that goal is near), there will be $30,000 to spend annually for American art.

* * *

THE INTERNATIONAL CONGRESS

The Seventh International Art Congress will be well worth a trip to Brussels, August 9 to 16 this year. Prof. Paul Montfort, general secretary of the Belgian Committee, has just sent the preliminary announcement. The or- ganizing committee of the Congress is the “Societé Nationale Belge des Professeurs de Dessin, d’ Histoire de lart et de Travail Manuel.”

The chairman for America, succeeding Mr. Huger Elliott of the Metropolitan Museum of Art, is Prof. A. J. Pelikan of the Milwaukee Art Institute, with Prof. Royal Bailey Farnum of the Rhode Island School of Design as na-

[Continued on page 27]

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THE AMERICAN ARTISTS

PROFESSIONAL LEAGUE

National Chairman : F, Ballard Williams 152 West 57th Street, New York City

National Secretary : Wilford S. Conrow 154 West 57th Street, New York City

National Vice-Chairman : Albert T. Reid 103 Park Avenue, New York City

National Treasurer : Gordon H. Grant 137 East 66th Street, New York City

National Regional Chapters Committee hairman: George Pearse Ennis 681 5th Avenue, New York City

National Committee on Technic and Education Chairman : Walter Beck “Innisfree,” Milbrook, N. Y.

4 national organization of American artists and art lovers, working positively and impersonally for contemporary American art and artists.

LANTERN SLIDES

All American artists have a real opportunity for dignified publicity by prompt cooperation with the American Artists Professional League in contributing to the League’s library of lan- tern slides with descriptive copy and biographi- cal notes. This material will be available to lecturers on contemporary American art. The demand for it exists already.

You are invited to send to Mr. Orlando Rouland, chairman, National Lectures Com- mittee, 130 West 57th St., New York, two standard-size stereoptican slides of a_repre- sentative subject with your own statement about the work of art (this in triplicate); and brief biographical notes in triplicate. If you prefer, send a good glazed photograph and $2.00 instead of the lantern slides, and the League will have the slides made for you.

Good cooperation in this project has begun. The League strives to serve American art. Membership in the League is not essential to your participation. To every artist, painter, sculptor, craftsman, designer, architect, this opportunity is offered. Do your individual part to make the League’s library of slides and descriptive material completely representa- tive.

7 * *~ INVITATION TO NEW TYPE OF TALK WITH DEMONSTRATIONS ON ARTISTS’ COLORS

Mr. Harold Park, well-known industrial chemist, specializing in the field of the manu- facture of artists’ colors, has accepted the in- vitation of the New York Regional Committee of the League to give a talk with demonstra- tions on purity, tinting-strength and evidences of adulteration, when present, of pigments that are in themselves known to assure permanence of color. This talk must be restricted to a

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succession of groups each limited to 40 artists only. As many talks will be given as will be required by the applications received. The place probably will be in a Carnegie Hall studio, and the hour either late afternoon— 4:30 to 6; or in the evening, 8:15 to 9:45.

The knowledge of artists’ colors from the point of view of the manufacturer, which Mr. Park volunteers to give to artist-painters, is an important step in the League’s technical work, which we find encourages those mafu- facturers who mix conscience with their paints. Improvement in manufacture will come only when the artist knows all that can be known about the materials he uses. With complete knowledge, the artist will cease to be the un- witting economic and technical victim of minor adulterations which are abhorred by honest manufacturers, but of which most artists are as yet quite uninformed.

A cordial invitation is extended to all mem- bers of the League, and to their artist friends, to be present at one of Mr. Park’s talks and demonstrations. No fee will be charged. Ap- plicants should write to Wilford S. Conrow, national secretary, the American Artists Pro- fessional League, 154 West 57th St., New York. Groups will be formed in the order of receipt of applications, and notice of place and time will be mailed to applicants ten days in advance of the date on which Mr. Park will address the group to which they are as- signed.

> * *

MURAL PAINTING COMPETITIONS

We print a word of advice for the inexperi- enced artist who will go in for competitions in mural painting. See that the amount of money to be awarded the winner is reasonably suffi- cient. It should be so, but sometimes it is not. We are impelled to write this because our atten- tion has been called to more than one competi- tion offered by business concerns where the sum allotted the winner was not large enough to cover the artist’s actual outlay and still leave a fair margin as compensation.

A case in point: You win a competition for several mural paintings for the visitor’s room of the local chemical company. You have your studio rent to pay during the time it takes you to paint them. There are large can- vases with their stretchers, perhaps also paint, to pay for. An assistant, a practical man (at union wages!) to fix your completed canvas to the company’s walls, wood mouldings to apply for a suitable finish, after he has put a wax coating over all. Already it is quite a sum. Did we forget insurance, scaffolding and cartage? They should be added.

Then there was the time you took in the first place originally to make your excellent winning design. Nobody will think much about that, so perhaps you might as well forget it also.

If the company offered you seven hundred dollars as the winner’s prize payment, we think your net compensation would be exceedingly small. So, consider very carefully the terms of your competition.

The Art Digest, 1st March, 1935

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